Table of Contents

- Wouldn’t It Be Cool If…?

- The Year of Firsts

- ISSUE 1

- ISSUE 2

- ISSUE 3

- ISSUE 4

- ISSUE 5

- ISSUE 6

- About the Authors

Book Description

Clockwork Angels is a steampunk fantasy adventure—and an innovative multimedia feast!

Based on a story and lyrics by legendary drummer Neil Peart, Clockwork Angels became the worldwide bestselling concept album by Rush and was developed into a New York Times bestselling and award-winning novel by Kevin J. Anderson.

Anderson and Peart, working with comics artist Nick Robles, brought the epic tale to a visual canvas, a six-issue graphic novel published by BOOM! Studios. Clockwork Angels: The Comic Scripts pulls aside the creative curtain, showing the original scripts, panel by panel, interactions between author and artist, as well as all the secret “Easter eggs”

***

Smashwords Edition – 2014

WordFire Press

wordfirepress.com

ISBN: 978-1-61475-263-9

Copyright © 2014 Core Music Publishing. All Rights Reserved. Published Under License.

No part of this book may be reproduced or transmitted in any form or by any electronic or mechanical means, including photocopying, recording or by any information storage and retrieval system, without the express written permission of the copyright holder, except where permitted by law. This novel is a work of fiction. Names, characters, places and incidents are either the product of the author’s imagination, or, if real, used fictitiously.

This book is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. Thank you for respecting the hard work of this author.

Cover paintings by Hugh Syme

Cover design by Janet McDonald

Art Director Kevin J. Anderson

Comics published by BOOM! Studios

Original Clockwork Angels novel published by ECW Press and WordFire Press

Book Design by RuneWright, LLC

www.RuneWright.com

Kevin J. Anderson & Rebecca Moesta, Publishers

Published by

WordFire Press, an imprint of

WordFire, Inc.

PO Box 1840

Monument, CO 80132

***

Acknowledgments

Clockwork Angels is a project that spans so much imagination and so many forms of media that I can only express thanks for those who had a part of my part of the endeavor.

Starting at the top, none of this would have happened without Rush and their album Clockwork Angels, so thanks to Geddy Lee, Alex Lifeson, and of course Neil Peart (I am so glad you brought me along on a journey that was as exciting and amazing as Owen Hardy’s). Pegi Cecconi and Bob Farmer at Core Music helped with the complexity of licensing and paperwork to make the project happen. And Hugh Syme, who provided such inspiration with his incredible artwork for the album and the novel.

At ECW Press, publishers of the novel, David Caron, Jack David, Jennifer Knoch, Erin Creasey, Sarah Dunn, Tania Craan, Troy Cunningham, Alexis van Straten, Michelle Melski and many others turned this storuy into a wonderful hardcover book to be proud of, and a fine launching point for the comics.

BOOM! Studios deserves a big round of thanks for “getting” it—Ross Richie, Matt Gagnon, and Filip Sablik, who got on board with the project right away, and our intrepid editors Ian Brill and Jasmine Amiri made the six issues a pleasure to work on, Andy Liegl and Mel Caylo helped spread the word with their tireless crusading.

And of course Nick Robles, for bringing it all to life with his artwork.

For this book of the collected scripts: what can I say? We have an awesome team at WordFire Press. Special thanks to Peter J. Wacks, Vivian Trask, Quincy J. Allen, James S. Sams, Keith Olexa, and David Boop. Special applause to Janet McDonald for her outstanding cover design.

And, as always, my co-publisher, collaborator, and lifelong companion, Rebecca Moesta.

Don’t stop thinking big!

—Kevin J. Anderson

***

Wouldn’t It Be Cool If…?

Ian Brill

BOOM! Studios editor

I’m in Susina Bakery on Beverly Boulevard, enjoying one Los Angeles’s best cups of coffee. Well, not exactly. I’m physically there, sure. Mentally, I’m standing before the Temples of Syrinx. Rush’s classic “2112” is blaring in my earbuds for the umpteenth—no, sorry, the umpteenth and fifth—time. A thought stretches itself out over the galloping rhythms, “Why isn’t there a comic book inspired by Rush?”

This was in 2011. By then I had edited some of the comics based on Coheed & Cambria’s Amory Wars saga. I had been nominated for a Harvey Award for editing the CBGB comic book anthology, a collection of stories inspired by the legendary Bowery Club. I loved the experiences. But to bring a band like Rush to comics would be the next level. This is band with multiple platinum albums, they sell out arenas on every tour, and somewhere in the world a classic rock station is playing “Limelight” RIGHT NOW. It would be great to bring them to comics. But they’re way too big…right?

In late 2013 Jasmine Amiri, one of my assistant editors, and I were told by Managing Editor Bryce Carlson that there’s going to be a Rush comic book. Sometimes silly little daydreams come true. They certainly do when you work at a company with CEO Ross Richie, President of Publishing & Marketing Filip Sablik, and Vice President of Licesing & Marchandising Lance Kreiter. Three bigger Rush fans you could not find. I was told that we were going to be the next step in the evolution of Clockwork Angels. First it was the concept album, then Kevin J. Anderson turned it into a novel, and now we, working with Kevin and Neil Peart, were going to do the first full-length visual interpretation of this amazing steampunk fantasy.

No pressure, right? It was time to start thinking big.

The first step was to find an artist who could tackle the amazing world that Neil and Kevin had built. An almost impossible job, and our job was to find someone who could pull off this impossible job. So did that mean our job was doubly impossible? If so, that didn’t stop us from trying. We considered many artists, from newcomers to veterans, and eventually Jasmine found an artist who had displayed some sequential comics on his DeviantArt page, but had nothing published. Still, there was a rich quality to his painted work. It was different than anything we’d seen happen in comics in a long, long while. We tested him on a few pages, shared his work with Kevin, who shared it with Neil—and that’s how Nick Robles became the artist on the Clockwork Angels comic.

Then the magic really happened. Kevin, Neil, Jasmine, Nick, and I became what Neil described as the “quorum.” We were a small group, but one capable of great creative feats. I suppose Neil has a pretty good sense of the creative heights a small group of individuals can achieve. Many ideas on how to bring Owen Hardy’s world of Albion to life were batted around, and the best ideas came to fore. No ego, everyone realized we were working towards the same goal.

I have overseen a lot of comic book projects, and it’s rare to find a team that works so well together. But that’s just another example of how special the Clockwork Angels comic has been.

The great efforts extended to our initial designer on the book, Emi Yonemura Brown, who crafted a beautiful credits page and who brilliantly packaged Nick’s artwork for the subscription covers. Ed Dukeshire continued the grand tradition of quality. Ed has lettered a million books for us. When I saw him exclaim with excitement that we were doing a book with Rush, one of his favorite bands, there was no question of who I was going to pick to letter this project. The good work continued with designer Kara Leopard and our lead designer Scott Newman. Throughout this project, I saw so many examples of talented individuals inspiring others: That’s the one thing I will treasure most about this project.

You will now discover some of the sources of inspiration here. Kevin’s scripts provided that vital bridge between the novel and the comic. Kevin already knew the story so well. When Jasmine and I had feedback for him, it was mostly of the structural type—things like how many panels work best on a page, given how much was going on in a certain sequence. Sometimes we’d chime in with a “wouldn’t it be cool if…”

That was a constant for this series, someone asking someone else “wouldn’t it be cool if…” All the cool ideas grew and grew, talents building on talents.

Wouldn’t it be cool if there was a comic book based on one of Rush’s most amazing concept albums? By now you know the answer.

***

The Year of Firsts

Nick Robles

Clockwork Angels comic artist

I have no idea how to even start talking about the ride this year has been. I’ve decided I’ve got to call it the “Year of Firsts” for all that’s happened. In truth it began in late 2013, but the majority of the Clockwork Angels project took place this year.

It began with a simple email and a heavy amount of disbelief from me when Jasmine Amiri, an editor from BOOM! Studios, contacted me with a job offer—or an audition I should say. They were interested in having me illustrate a comic for them. Me? Comics? I never thought I’d be auditioning for that kind of gig, but here I was with an opportunity that I wasn’t going to let go by. The setup was too good and the timing was perfect! I felt pretty apprehensive about the whole thing, but if I’m being honest, I tend to feel that way about most things. Call me a pessimist. I just couldn’t believe what was going on. Surely they had to have seen that I’d never really done sequential work? Yet here came the first of many firsts knocking on my door.

So—I auditioned, and I got the job. I had drawn maybe eight comics pages before in my life, ten counting the audition pages!

My heart was already pounding with excitement and trepidation as I dove in, somewhat blind, to the world of comics and the business that came with it. Lucky enough for me, a small town nobody, everyone on the team of Clockwork Angels made me feel right at home. They held my hand through many initial days of fear when I thought I was doing something wrong or had made a royal mess of things. One time I even thought I might not have the right tools to do the job!

It was a nerve-wracking first experience, and once I got through that first issue and everything had become much more familiar, I thought, “Hey, this was kind of fun. Maybe comics is that place I’ve been looking for with my art.”

I really enjoyed the experience of telling a story with more than one picture, as you must with an illustration, which is where I thought I’d always end up with my art—painting single-image illustrations for books, cards, and private commissions. I still do that, but with comics I found that it was easier to use all the space I needed to tell the story.

I had never done much with comics before, and the sheer amount of work that goes into them is mind-boggling. Especially if you’re doing it alone. (I admire those of you who do this!) It’s a lot to handle and keep up with, and I would like to end up there one day so I can tell my own stories. I still have a lot to learn until then, I think.

Clockwork Angels was great in that respect. It allowed me to work and know that I could do the job, albeit a little slower than most artists. The opportunity lent me two great writers, wonderful and helpful editors, and hands behind the curtain that I didn’t even see to make this miniseries complete. It built confidence in me and really honed my skills in artistry and storytelling. I gained so much from the experience that I really wanted to take a moment and let you all know that I appreciate everyone and everything involved. I have nothing but gratitude and respect for BOOM! Studios, Jasmine Amiri, Ian Brill, Kevin J. Anderson, and Neil Peart for letting me be a gear in the machine that created the Clockwork Angels comic.

Thank you all for taking a chance with me and making it a wonderful experience. You guys got me thinking big!

***

ISSUE 1

PAGE 1

PANEL 1

These first two pages all have a sepia tint to differentiate that this is a frame story, introducing our character who is telling the tale.

Big panel: Stone angel in the foreground, a garden ornament, weathered, covered with moss, seen from behind (throughout this series, we will NOT show the angels’ faces). It is on the edge of a garden; there are flowers in bloom, vegetables in rows in the garden, orchard trees all around, with APPLES, bright red, hanging from the branches. (Apples will be a metaphor throughout the story.)

Mid-ground, the real focus, is an old man, old OWEN HARDY, in a chair with a book on his lap, a journal, and a pen in his hand.

NOTE: Owen Hardy is an old man here, but he is NON-ETHNICALLY SPECIFIC … should have darker/olive skin, dark eyes, dark hair, could be Hispanic, Greek, Filipino, light-skinned black. Who can tell? This is an Everyman, worldwide.

CAPTION

Adventuring is for the young …

CAPTION

Remembering is for the old.

CAPTION

But in order to remember, one must have done the things in the first place.

CAPTION

Too many people forget that.

PANEL 2

Close-up of open book, blank page, hand holding pen, as Owen ponders.

CAPTION

It seems like a lifetime ago—which, of course, it was … all that and more. A good life, too, though it didn’t always feel that way.

CAPTION

How do I tell that?

PANEL 3

Three children go running through the garden, wild and rowdy, a girl pulling the string of a kite, a boy with a makeshift wooden sword, and ALAIN, a blond, freckle-faced kid.

SWORD BOY

You’ll never get me! I’m the Anarchist!

GIRL

You’re not smart enough … or evil enough!

PANEL 4

Alain stops and turns to face Owen, who is watching the wild kids with a trace of amusement.

ALAIN

Grandpa Owen, could you tell us a story?

OWEN

My stories are for everyone … but only those who want to listen.

PANEL 5

Sword boy and the kite girl tease Alain.

KITE GIRL

Come on, Alain! Do you want to sit around, or do you want to PLAY?

PANEL 5

The boy goes bounding off with his friends.

CAPTION

“And no one can listen all the time …”

PAGE 2

PANEL 1

A MONTAGE of images, like scattered photographs—use Hugh Syme’s paintings from the published novel, scattered images of memories, teasers of the story to come. Intersperse captions among them

CAPTION

From the very start, I had stability, measurable happiness, a perfect life.

CAPTION

Everything had its place, and every place had its thing.

CAPTION

I knew my role in the world. What more could anyone want?

CAPTION

I wanted more. And I got more … so much more.

PANEL 2

Birds-eye shot of the sprawling, colorful landscape, circus tents, striped and colorful practice pavilions.

CAPTION

Pirates, anarchists, alchemy, lost cities, treachery, explosions, adventure …

PANEL 3

Owen in his garden.

CAPTION

Adventuring is for the young … I wish that I could live it all again.

PANEL 4

Close-up of hand writing these words: “The best place to start an adventure is with a quiet, perfect life … and someone who realizes that it can’t possibly be enough.”

PANEL 5

Owen looks up at the sky.

PAGE 3

PANEL 1

Small panel, an echo of previous panel, but this time a young Owen, staring into the sky, same position.

OWEN

That one, there … it looks like a dragon.

PANEL 2

Owen is sitting under an apple tree on a hill. His back is against the trunk, feet sprawled out in front of him as he looks up at a big cloud in the sky. This panel is right out of the Rush song “The Analog Kid” on the Signals album. He is looking up at a big cloud in the sky, gray and puffy, but it is shaped just like the dragon from the cover of the Rush in Rio album.

OWEN

See its wings, the head, Lavinia?

PANEL 3

Pull back a little to show that Lavinia is standing next to Owen; she is a teenaged girl, brown hair, and everything about her reeks of No Nonsense. She has a basket of apples in one hand. In this panel, though it is almost exactly the same as Panel 2, the cloud looks like just a cloud.

LAVINIA

Owen Hardy, why do you always see shapes in the clouds?

OWEN

I wonder why I’m the only one who does …

PANEL 4

Owen picks an apple from a branch above his head.

OWEN

I like to dream of what’s out there in the wide world. The Watchmaker, Crown City, the Alchemy College … the Clockwork Angels!

OWEN

I can’t stop thinking big.

PANEL 5

Lavinia puts the apple in her basket; her expression is somewhat annoyed.

LAVINIA

I’d rather you spent more time thinking about being the assistant apple orchard manager and the town business of Barrel Arbor. We’re on the schedule to be married soon.

LAVINIA

That’s the Watchmaker’s plan. All is for the best.

PANEL 6

Owen stands, excited, on top of the hill, shading his eyes to look down in the sweeping valley below, where a STEAMLINER is passing by, like a bizarre steampunk caravan/freight train of zeppelin balloons, rail cars, gondolas with wheels, following a glowing blue line on the ground, like a magical rail. This is in the distance and we can just barely see how exotic it is. [We will get a full-scale look at it on page 12.]

OWEN

Ah, someday, to hop a steamliner, head off to see all of Albion …

PANEL 7

Lavinia stares at a pocketwatch in her hand.

LAVINIA

But not today. The Watchmaker has a rainstorm scheduled in thirteen minutes. We’ll have to run.

PAGE 4

PANEL 1

Hand in hand, with Owen carrying the basket of apples, the two run down the hill path toward the town. If possible, they run past a stone angel as a sort of marker at a crossroads (but the angel’s face is averted from us)

OWEN (LAUGHING)

Plenty of time!

PANEL 2

Running down the main street. The town of Barrel Arbor is a quaint, steampunk, almost medieval little British-style town, half-timbered houses, thatched roofs, fieldstone walls, a water wheel and a mill (just to give a feel … these don’t all have to be depicted.) ALSO NOTE, the symbol of the Watchmaker is the honeybee (see CLOCKWORK ANGELS novel for design). The honeybee symbol will appear as a detail on buildings, signs, etc., wherever Nick can slip it in.

As Owen and Lavinia run past, a shopkeeper or baker is inside his shop, leaning out the window and pulling the shutters closed. He calls to the two.

SHOPKEEPER

Hurry, you two, or you’ll be caught in the downpour. The Watchmaker is never late.

PANEL 3

Owen looks up at the town’s clocktower, a square stone tower, taller than any other building in town (but not huge) with a clock face on every side. The clock face shows 3:05.

OWEN

Six more minutes …

PANEL 4

Owen and Lavinia stop at a small brick shop, like a telegraph office. A hanging wooden placard outside the door says “NEWSGRAPH OFFICE, P. Paquette, Prop.” (There is a honeybee symbol on the sign.)

LAVINIA

I have to get inside and help my father. Take your apples to the cider house—and don’t be late.

PANEL 5

Owen close-up (possibly Owen and Lavinia two-shot). Owen has a longing look on his face.

OWEN

Wait! We’re going to be married soon enough—we should do something exciting. Meet me up on Orchard Hill at midnight.

OWEN

We’ll have a kiss in the moonlight … and watch the late-night steamliner heading toward Crown City.

OWEN

Please? Just this once …

PANEL 6

Lavinia, exasperated, ducks into the Newsgraph Office.

LAVINIA

Someday you’ll be cured of all this nonsense, Owen Hardy …

PAGE 5

PANEL 1

Carrying the basket of apples, Owen shuffles along the town street without a care in the world, whistling. Note, the figure’s position is just like the kid on the cover of the Roll the Bones album.

OWEN

What’s a little rain?

PANEL 2

Big dramatic panel. Owen, his back to us, encounters THE PEDLAR on the otherwise empty town street. He has matted and tangled gray hair, a stovepipe hat, an eyepatch. And he is standing by a remarkable, heavily loaded steampunk-style cart. [See full description in the novel.]

OWEN

OH! Where did you come from?

OWEN

A pedlar won’t have much luck selling his wares now. The town’s closed, on account of the scheduled rain …

PANEL 3

Close-up of the Pedlar, his eyepatch, hat, tangled gray hair. [Note, we will see by the end of this issue that the Pedlar is really the Watchmaker in disguise.]

PEDLAR

And what about you, young man?

PEDLAR

What do you lack?

PAGE 6

PANEL 1

Small panel, Owen’s face shows puzzlement. He’s never thought about this before.

OWEN

Ummm … what do I lack?

PANEL 2

Big panel. The Pedlar tinkers with his amazing steampunk cart, adjusting packages. THROUGHOUT: the steampunk alchemy in this world runs on coldfire, a pale blue glowing energy source, so most manifestations of technology will have a pale blue glow about them.

PEDLAR

No rush. I’ll give you time to answer.

PANEL 3

Owen crosses his arms, as if giving a memorized answer from school.

OWEN

We have food, we have coldfire for warmth and energy, we have our jobs, we have happiness. Everything has its place and every place has its thing. There has been no chaos in Albion for centuries.

OWEN

Our loving Watchmaker takes care of our every need. All is for the best.

PANEL 4

Small panel, close on Owen. He lifts his chin.

OWEN

I lack for nothing, sir.

PANEL 5

Extreme close-up of the Pedlar’s narrow, intense eyes. They seem to have a bit of blue coldfire glow, too.

PEDLAR

That is the best answer a person can give.

PANEL 6

The Pedlar follows his cart as it begins to chug down the street. Blue-tinted steam boils out of a narrow exhaust stack. The Pedlar calls over his shoulder.

PEDLAR

Although such consistent prosperity certainly makes my profession a difficult one.

PAGE 7

PANEL 1

With a concerned expression, Owen looks at the town clocktower. Ominous gray clouds are gathering. But the clock shows 3:16.

OWEN

The rain is late …

PANEL 2

Owen holds out his hand, palm up. (Can be just a close-up of his outstretched hand.)

PANEL 3

Large panel, Owen watches the Pedlar, who is far down the street now, his cart entering the forest at the edge of Barrel Arbor. (For ref, see Hugh Syme’s painting of the Pedlar and his cart in the woods.)

PANEL 4

Small panel, a couple of raindrops spatter the ground.

PANEL 5

As rain begins to pour, Owen goes running down the street toward a fieldstone cider house, carrying the apples in one hand, holding down his cap with the other. (Put a cap on him in previous panels).

PANEL 6

Owen stands in the doorway of the cider house, panting, looking out at the sheeting rain. His father is in the interior shadows.

OWEN’S FATHER

You’re late, son.

OWEN

So is the rain …

PANEL 7

Owen’s father wipes his hand on a towel. Interior of the cider house has barrels and barrels of apples, an apple press, jugs stacked in the corners.

OWEN’S FATHER

There was a newsgraph update an hour ago, delaying the rain by eight minutes. All is for the best.

OWEN’S FATHER

Now let’s have an early supper. They’ll be expecting us at the tavern later.

PAGE 8

PANEL 1

A wooden sign hanging outside a British-style pub. The TICK TOCK TAVERN

PANEL 2

Interior of the pub, very pleasant and homey, something out of every quaint fairytale; technology level is steampunkish, around the end of the 19th century. Villagers sit around tables, talking, drinking tankards, everybody having a good time. Owen’s father makes an announcement as he hands a big tankard to young Owen, who is sitting at one of the tables.

OWEN’S FATHER

A mug of real hard cider for my son Owen, who’ll be a man soon. He’s already received his congratulations card from the Watchmaker.

PANEL 3

Owen accepts the mug, looking intimidated; maybe show him taking a nervous sip. If there’s room in the panel, other tavern customers cheer for him.

OWEN

Th-thanks. I guess I’ll have to learn to drink hard cider now …

OWEN’S FATHER (SMALL VOICE)

If only your mother could see you now …

PANEL 4

An officious-looking man (late 40s) with pince-nez spectacles and extravagant sideburns, stands holding a long piece of paper, reading it aloud. (Stylistically, this could be a long and thin strip of paper, like a tickertape, to imply that he’s reading something special.) This is Mr. PAQUETTE, Lavinia’s father.

MR. PAQUETTE

*Ahem* Today’s report, received at the Barrel Arbor newsgraph office.

But first I’d like to add, on a personal note, my delight in the imminent betrothal of my daughter Lavinia to young Owen Hardy, as is to be expected. *Ahem*

PANEL 5

Close-up of Mr. Paquette as he reads.

MR. PAQUETTE

And now the news. The Watchmaker is saddened to announce the loss of another steamliner en route to Poseidon. The Wreckers are believed to be responsible …

PANEL 6

The angry crowd, grumbling. Paquette continues (possibly out of panel.)

MR. PAQUETTE

The Anarchist planted another bomb and ruined a portion of the northern line, disrupting steamliner traffic throughout Albion. Fortunately, the airship captain was able to lift his cars to safety just in time, and no one was hurt.

CROWD (VARIOUS)

Damn the Anarchist!

The Devil take him!

PANEL 7

Owen looks very troubled, baffled more than infuriated.

OWEN

But why would anyone want to ruin what the Watchmaker created? Doesn’t he know how dangerous the world would be?

MR. PAQUETTE

He’s a freedom extremist, boy. How does a disordered mind work?

OWEN’S FATHER

It’s not ours to understand. All is for the best. Now drink up … time to get back home.

PAGE 9

PANEL 1

Establishing shot of Owen’s house, a quaint and humble dwelling next to the cider house we saw earlier.

PANEL 2

Inside the house, a quiet and dull evening. There are clocks on the wall, on the mantel, and a big grandfather clock in the corner. Owen’s father sits in a chair beside the fireplace, reading a newspaper. Owen in a smaller chair (like father, like son) is reading a large book.

OWEN

Didn’t you ever want to see Crown City, Dad?

OWEN’S FATHER

Not really, and not since the last time you asked. It was never in the schedule … Ah, your mother was always a dreamer, too …

PANEL 3

Close-up, Owen turns pages of the book, is fascinated.

OWEN

At least we have these books she used to read. It’s all we have left of her …

PANEL 4

Close-up of a page of the book, a tintype showing the Watchmaker’s tower and the Clockwork Angels emerging like a glockenspiel (but no detail on the angels’ faces).

OWEN (OFF PANEL)

Someday, maybe I’ll get to see the Clockwork Angels.

OWEN’S FATHER (OFF PANEL)

That was what your mother always said, too.

PANEL 5

Owen’s father gets up, winding a clock on the mantelpiece, while Owen puts the book on a shelf.

OWEN’S FATHER

Come now, help me wind and check all the clocks before we go to bed.

PANEL 6

Owen adjusts the weights on a big grandfather clock as his father heads into the bedroom.

OWEN

Good night, Dad. I’ll stay up a little while longer.

OWEN’S FATHER

You always do …

PAGE 10

PANEL 1

Inside the living room of the dark house, the fire in the fireplace has burned down to embers, leaving only a dull orange glow. The clock on the mantelpiece says 11:40.

CAPTION

Almost midnight …

CAPTION

Lavinia … my true love.

PANEL 2

Dressed, Owen opens the front door and tiptoes out of the house. He is carrying a small cloth sack (it has a few apples in it)

CAPTION

Is the thought of a secret kiss really so exciting?

CAPTION

I hope she thinks so …

PANEL 3

Night shadows, a moon in the sky, Owen walks along a tree-lined lane, eating an apple from his sack.

PANEL 4

On top of the hill, a night version of what we saw on Page 3, the landscape is vast, sparkling under the starlight. Owen waits by the tree.

CAPTION

The world makes me feel so small … but I can’t stop thinking big.

PANEL 5

Small panel (will be repeated several times). In Owen’s hand, he opens his pocketwatch to show the time is midnight.

CAPTION

Midnight … It’s time.

PANEL 6

Small panel (will be repeated several times), close on Owen’s face, grinning, hopeful

PANEL 7

Small panel, Owen’s pocketwatch now reads 12:14

PANEL 8

Small panel, Owen’s face, troubled.

PANEL 9

Small panel, pocketwatch, now 12:35

PANEL 10

Owen’s face, frowning, deeply disappointed

PAGE 11

PANEL 1

Owen sits under the tree, sulking, knees drawn up against his chest.

PANEL 2

With more vehemence than is absolutely necessary, he hurls his apple core out into the night.

SFX

Runs along edge of Panel 2 and into Panel 3, growing larger, louder

clang Clang Clang CLANG

PANEL 3

On the hill, Owen looks down to see the brightening blue line of the coldfire rail (like a luminous single rail-track winding through the valley below), and a “long train of flares under piercing stars” as the steamliner approaches. This is a caravan of freight cars, zeppelin balloons, passenger gondolas. See full descriptions in the novel; it would also be a good idea to watch the Clockwork Angels tour animation for “Caravan,” which has some images of these steamliners (though we can be even more spectacular). Note, we’ll get the full jaw-dropping image of the steamliner on the next page.

PANEL 4

Close-up of Owen’s eyes lighting up with joy and wonder.

CAPTION

The night steamliner …

CAPTION

Of course, right on schedule!

PANEL 5

Owen starts running down the hill, hauling ass, holding his sack which bounces behind him. He’s going so fast that any second now he could go flying face-first.

PAGE 12

PANEL 1

Small panel, Owen reaches the track (which has a faint blue glow), stands on the siding and just stares in absolute wonder, like Dorothy facing the Wizard of Oz for the first time.

PANEL 2

Mostly full page, the jaw-dropper of the fantastical steamliner as it arrives, just passing him, a combination gypsy caravan, locomotive, steampunk freight-train. See book for description and some of Hugh Syme’s illustrations, as well as “Caravan” animation from tour. Owen looks very small in relation to it.

PANEL 3

Another small reaction panel, close-up of Owen showing awe. [We can do without this panel, if Nick thinks it’s more effective just to have the two shots.]

PAGE 13

PANEL 1

Big panel, as the steamliner thunders past (try to imply the exciting, swift passage, wind blowing Owen’s hair, his clothes), Owen looks down the line of the oncoming train and sees a man leaning out of one of the approaching cars (equivalent to a boxcar on a freight train), extending his hand. It’s a small figure, but coming fast as the steamliner rolls along.

STRANGER

Come on, kid!

PANEL 2

Closer in, we see the stranger now, holding onto the edge of an open boxcar door, leaning out into the night. What he’s doing looks dangerous, but the man doesn’t show any concern. (See the book for the full description of the man; this is the Anarchist.) He shouts at Owen.

STRANGER

Take my hand!

PANEL 3

Owen looks shocked, intimidated, balking. Caption should be on one side of the panel, Stranger’s dialog on the other.

CAPTION

This could be my only chance to see the world …

CAPTION

Going where I want—

STRANGER

You know you want to!

PANEL 4

Owen reaches out his hand, and the Stranger reaches down to grasp it; close-up on the two hands—copy the Hugh Syme illustration in the novel and CD booklet. Make sure we see the alchemy symbol on the Anarchist’s hand.

CAPTION

Instead of where I should …

PANEL 5

Outside view. The stranger grabs Owen’s hand and yanks him off his feet, dramatic, violent, pulls him into the open car.

CAPTION

On my way at last …

PAGE 14

PANEL 1

From inside the car, we see Owen sprawl face-first, and two apples tumble out of his sack onto the train car floorboards. In direct contrast to Owen’s flustered tumble, the Anarchist doesn’t look ruffled at all.

STRANGER

Welcome aboard. I’m proud of you. You did what most others wouldn’t dare …

PANEL 2

Owen gets up and stands unsteady at the edge of the open door, looking out at the countryside moving past, toward the distant clocktower and huddled buildings of his village.

OWEN

But what did I do … ?

PANEL 3

The stranger sits against the wall of the steamliner car and begins rummaging through Owen’s sack, pulls out an apple.

STRANGER

Didn’t you pray just to get away? Seek your fortune, see the world … see Crown City? Where a young man has a chance o making good?

STRANGER

I know you, young man … I know you very well.

PANEL 4

Owen is somewhat offended, summoning up pride and courage. He stands with his back to the open door, hands on hips, looking at the stranger who is too relaxed, seated on the floor.

OWEN

I am Owen Hardy from Barrel Arbor, son of Anton, and assistant apple-orchard manager. How do you know me?

STRANGER

I know a thousand just like you—and yet not like you. Very few have the nerve to resist the Watchmaker’s repression.

STRANGER

All is not for the best.

PANEL 5

Close-up, the stranger’s hand holding an apple as he brings it to his mouth to take a bite. His hand is burned and scarred (this is the opposite hand from the one that has the alchemical symbol tattoo.

OWEN (OFF PANEL)

What happened to your hand?

STRANGER

Life … and circumstance.

PANEL 6

Aerial shot, looking down, the steamliner rolls on into the night.

STRANGER (NOT SEEN)

Good for you to escape the rules, young Owen Hardy. The devil take the Watchmaker!

STRANGER (NOT SEEN)

Go where you want, do what you choose. All people should be free like that—not like what the Watchmaker commands!

STRANGER (NOT SEEN)

This is your chance to break from the past.

PAGE 15

PANEL 1

Owen is huddled in the shadowy steamliner car, crouched against some stacked lumber, other crates of materials being shipped.

OWEN

I’ve never seen Albion, the mountains where alchemical elements are mined, or the forests, or other villages …

OWEN

Or the Watchmaker’s Tower, or Chronos Square. Or Crown City … is that where we’re heading now? You’ve been there before?

PANEL 2

Stranger at the doorway of the car, with wind blowing in his face and whipping his hair.

STRANGER

As often as I like … more often than I prefer.

OWEN

You’ve seen the Clockwork Angels, then? Tell me about them.

STRANGER

Wind-up contraptions, symbols of oppression.

OWEN

Oppression! But they’re … the Clockwork Angels! They’re beautiful.

PANEL 3

Stranger stands silhouetted against the open door, hurls his apple core into the night.

STRANGER

They have some aesthetic merit, but to worship them because the Watchmaker lets them deliver pre-printed announcements? People believe such nonsense.

OWEN

But … that’s our loving Watchmaker!

STRANGER

Yes, he loves us all to death.

PANEL 4

Owen draws his knees up, hugging himself.

OWEN

That’s not what I was brought up to believe.

STRANGER

It’s easy to believe! Now learn the truth. See Crown City for yourself.

PANEL 5

Exterior view, at train level looking forward as the steamliner rolls toward a mysterious, exotic-looking skyline ahead as the sky is turning pale and full of colors with dawn.

OWEN (OFF)

I will.

PAGE 16

PANEL 1

Small panel (fuzzy border, dreamy). Owen’s little house in Barrel Arbor, just as dawn is breaking, wisps of mist around outside. One light on in one window.

CAPTION

“Back home right now, my father will be waking up for a new day.”

PANEL 2

Windup alarm clock on a small nightstand table (Owen’s clock), ringing

CAPTION

“But my alarm clock will just ring and ring …”

PANEL 3

The Stranger laughs.

STRANGER

Aren’t you glad you’re free from all that?

PANEL 4

The steamliner’s big steel wheels touch down on the glowing blue coldfire rail with a shower of sparks

SFX

Ssskkkkkeeeeeeeeeeeeeeeeeeee

PANEL 5

Stranger, looking concerned

STRANGER

Almost there … The Regulators don’t like stowaways. Better not let them catch you!

PANEL 6

The Stranger stands perilously at the edge of the open doorway, like a skydiver about to jump. We can see trees, landscape rushing by. Owen looks alarmed, lost.

OWEN

But what do I do?

STRANGER

Get off the steamliner … before it’s too late!

PAGE 17

PANEL 1

Then the stranger just LEAPS OUT into the open air. Owen yelps, reaches out a hand. We can see the landscape whizzing by.

OWEN

Wait!

PANEL 2

Owen rushes to the edge, peers back down the track, sees the Stranger at the siding, picking himself up and brushing himself off. He is already far away.

PANEL 3

The Stranger, now much farther away, darts furtively into the bushes.

PANEL 4

The big steel wheels strike the coldfire rail again, sending even more sparks now, more dramatic

SFX

SSSKKKRREEEEEEEEEEEEEEEEEEEEE

PANEL 5

Small panel, Owen gulps, screwing up his courage.

PANEL 6

Owen crouches, LEAPS

PANEL 7

Owen roughly tumbles into the bushes, leaves go flying

PAGE 18

PANEL 1

Full page spectacular. Owen stands up, brushes debris off his sleeve. His back is to us, and he looks VERY SMALL—the steamliner has rolled on toward the horizon, but the view is FILLED with the incredible, exotic nearby skyline of Crown City, with the big Watchmaker’s tower in the city center, buildings all around. This should be like Dorothy and co. as they are approaching the Emerald City. See book for descriptions, but we should have the details of Crown City worked out as prep.

OWEN (SMALL VOICE)

On my way at last …

PAGE 19

Similar to the prologue (pages 1-2) these next four pages are a separate section, all from the Watchmaker’s POV. To differentiate, I would like a completely different background color between panels, a bleed … possibly a blueprint with random lines and designs drawn in the background, or the beige with line drawings of gears, as on the CD booklet.

PANEL 1

The Watchmaker’s Tower closer in, about the top third.

PANEL 2

Closer still, to a small window beneath the giant clock face. I see a hinged window swung open to let in air.

PANEL 3

Inside the Watchmaker’s office/laboratory/workshop. One chemistry table has beakers and chemicals on it, flasks, test tubes filled with glowing blue coldfire. There is a chalkboard filled with equations, as well as geometrical circles and lines. Blueprints hang down, mostly unrolled but curling at the edges. NOTE: make sure one of these blueprints shows the bolt-and-nut blueprint design from the Rush album Counterparts.

Remember, the Watchmaker’s symbol is the honeybee, so it should appear somewhere.

PANEL 4

Small panel. The Pedlar’s distinctive stovepipe hat hangs on a peg on the wall. A hand hangs a matted gray wig on an adjacent peg. There is one more empty peg to the side.

PANEL 5

Small panel, the hand now hangs the eyepatch on the last empty peg.

PANEL 6

Big panel, a Regulator arrives in the office, black uniform, crisp Prussian design, every detail perfect. Clicking heels, extremely officious. He has a sheaf of folders tucked under his arm, and it looks as if it would take a crowbar to pry them loose. We can perhaps show the arm and part of the shoulder of the Watchmaker at the edge of the panel, but don’t reveal until next page.

REGULATOR

Watchmaker, sir. It is 10:30 A.M. Time for your briefing. I am pleased to report that all is well, all is as it should be, and all is for the best.

PAGE 20

PANEL 1

Now we reveal the Watchmaker for the first time; see novel for description. He stands by his desk, which has many stacks of papers and folders. A tray with a pot of tea, a cup on a saucer, a little jar of honey, a honey dripper.

WATCHMAKER

As it always is.

PANEL 2

The Regulator delivers his sheaves of paper, setting them on the Watchmaker’s desk.

REGULATOR

Our long-range military ships have completed another section of the ordered grid mapping in our search for the Wreckers. They continue to destroy valuable alchemical shipments.

WATCHMAKER

The search has to be done properly, according to the pattern. And when the Wreckers are found, we must descend upon them with irresistible force.

PANEL 3

The Watchmaker picks up the dossiers, glances through them. We can see curled up peacefully on the floor near his desk is a spotted Dalmatian dog, seemingly asleep.

WATCHMAKER

I am much more concerned about the Anarchist. He has struck before, and he will strike again.

WATCHMAKER

Ah, that man had so much potential …

PANEL 4

Close-up of the Regulator, mostly rigid like a Buckingham Palace guard, but there’s a hint of unease on his face.

REGULATOR

If only he wasn’t so unpredictable …

WATCHMAKER

That is the point, Captain.

PANEL 5

The Watchmaker takes a seat, pours a cup of tea from the tray on his desk as the Regulator turns to leave like a windup soldier.

WATCHMAKER

That will be all.

REGULATOR

All is for the best.

PAGE 21

PANEL 1

The Watchmaker at his desk picks up another dossier from a neat stack on the other side (not one of the files the Regulator delivers). He sips his cup of tea.

PANEL 2

Close-up of the file. It says OWEN HARDY—BARREL ARBOR

CAPTION

What sort of effect could one young man have?

PANEL 3

Watchmaker unfolds a piece of paper (like old accordion-fold computer paper). The paper is covered with decision trees, branches after branches after branches.

CAPTION

A single person in a perfect world is little more than an identical grain of sand or a tiny pebble alongside the road.

PANEL 4

He unfolds more of the paper, 3–4 connected sheets, all of them a labyrinth of decision trees.

CAPTION

Yet, if a grain of sand got into the eye, or a sharp pebble lodged in a shoe, it could cause tremendous problems.

PANEL 5

He unfolds and unfolds and unfolds so that this is one very very long sheet of intricate decision trees, and he peers down at it.

PANEL 6

Close-up of his finger on the last decision tree on the last page, a branch point on which is marked OWEN HARDY

WATCHMAKER

This could be very interesting …

PAGE 22

PANEL 1

Watchmaker stands by the still-motionless, sleeping Dalmatian.

WATCHMAKER

Come, Martin … time for your walk. On schedule.

PANEL 2

Small panel, close-up, Watchmaker opens a small hinge on the dog’s spotted back, and he holds a vial of glowing blue liquid in his hand, pouring it inside a cavity of the dog. This is our first hint that Martin the Dalmatian is actually a clockwork dog.

WATCHMAKER

You were always such a good dog, so well trained, so well behaved.

WATCHMAKER

But like a bad clock, biology always runs down …

PANEL 3

Watchmaker’s hand winds a tiny key in the dog’s back, winding him up.

WATCHMAKER

Until we fix you up and make you good as new.

PANEL 4

Watchmaker and faithful dog, with tail wagging, walk away from us out the door of the Watchmaker’s office.

PANEL 5

The Watchmaker enters a brick-lined chamber, the master clockworks of the tower (see Hugh Syme painting of the clockwork). The dog stops and sniffs at something (image should be exactly the same position of the Dalmatian on the cover of Rush album Signals).

WATCHMAKER

Time for the Clockwork Angels to do their performance for the people …

PANEL 6

Watchmaker looks from behind, smiling, as one of the doorways opens, and the Clockwork Angel has emerged from an alcove like a glockenspiel, but we don’t see it, just part of the statue, from behind, and there is an ethereal glow around its head, like a halo. It’s dazzling, and he has a sense of wonder on his face.

WATCHMAKER

One of my best creations …

END OF ISSUE 1

***

ISSUE 2

PAGE 1

FULL PAGE (WITH ONE INSET)

Owen standing in amazing and majestic Crown City, which is like an amazing, clockwork/steampunk version of downtown Manhattan. He has his back to us, or perhaps is turned slightly sideways so we can see him in profile. There are people on the streets, traffic with odd steampunk vehicles. Buildings tower around him (not modern buildings, but classic European architecture … like something you might see in Prague or old Berlin, but with an art deco twist). Clock faces are VERY prominent (and the clocks should have alchemy symbols instead of numbers, like on the album cover art). Fancy, colorful zeppelins cruise overhead. Metal frames and struts should emphasize copper. Keep in mind that the Watchmaker’s symbol is the honeybee, and should appear frequently.

Owen, though, is a rube from the country. His clothes look homespun and out of place from the more stylish duds of the other people on the street. Through coloring and perspective, our eye is drawn to him, even with all this marvelous stuff going on, but the overall effect should make him look very small and overwhelmed in the big city.

CAPTION (ALL FROM OWEN)

Crown City

CAPTION

Home of the Watchmaker

CAPTION

Home of the CLOCKWORK ANGELS …

CAPTION

I left my small, comfortable village of Barrel Arbor and my responsibilities as assistant apple orchard manager.

CAPTION

I came here through unexpected circumstances, by accident … but I was following my dreams.

CAPTION

So I suppose it couldn’t possibly be an accident.

CAPTION

My father often said, “Thinking big—that’s your problem, Owen Hardy.” But I can’t stop thinking big.

INSET

Close-up of Owen’s face, wide-eyed, amazed, grinning.

CAPTION

Still, in a place like this, how can I not feel SMALL?

PAGE 2

PANEL 1

These first few pages are colorful splashy panels of all the wonders Owen sees, with just a hint of darkness (as noted below). Country boy in the big city for the first time.

Owen walks past fruit vendors’ stalls, trinkets, incomprehensible steampunk and alchemy gadgets on display.

CAPTION (OWEN)

So much to see. Everything is new … colorful … interesting. It makes my eyes and my imagination hurt—but in a good way.

CAPTION (OWEN)

I’m lost inside a treasure chest of wonderful things.

PANEL 2

Two workers in red jumpsuits (like the ones on the cover of the Moving Pictures album) are using a long-handled scrub brush and a bucket to scrub graffiti on the side of a building, the prominent Anarchist symbol (an “A” in a circle). We can see what it was, though partly washed away. Meanwhile, three stiff, straight-backed Regulators in pressed blue Prussian-style uniforms and tricorn hats march past like windup soldiers. (The graffiti and the stern Regulators are a hint of the cracks in the perfect facade, but Owen doesn’t see it.) Note, Owen does not have to be in the panel.

CAPTION (OWEN)

This city is kept so clean, everything in perfect order.

REGULATOR CAPTAIN

Make way for the Regulators!

SCRUBBING WORKMAN

We’ll get this cleaned up right quick, Captain!

SECOND WORKMAN (MUTTERS)

Bloody Anarchist …

PANEL 3

Owen stops at a Newsgraph Office, a much fancier version than the little office run by Mr. Paquette in Barrel Arbor. Carved in stone above the door are the words WATCHMAKER’S OFFICIAL NEWSGRAPH OFFICE #37, with the honeybee symbol next to it. A man stands in the doorway, reading aloud from a tickertape, like a town crier.

NEWSGRAPH MAN

Today’s official pronouncements from the Clockwork Angels! Take heed, and take heart!

NEWSGRAPH MAN

*Ahem* “Trust in perfect love, and perfect planning. Everything will turn our for the best.”

PANEL 4

In front of a bookshop, Owen stops by a table full of identical books, all thick volumes, all with the honeybee symbol stamped on the cover. The bookshop has a sign that says WATCHMAKER’S OFFICIAL BOOKSHOP #17. Owen picks up one of the books. A bookseller grins at him.

BOOKSELLER

The Official Autobiography of the Watchmaker, lad. Updated edition.

BOOKSELLER

Includes events as recent as last week.

PANEL 5

Small panel. Owen looks at the book, open to the title page. His expression is wistful.

OWEN

My mother had a lot of books …

OWEN

Someday I’ll sit down and read all about how the Watchmaker created the Stability, made Albion safe and prosperous.

PANEL 6

Another trio of Regulators marches by as Owen glances up at them. These Regulators show that there’s a lot of security here.

OWEN

But for now, I have the rest of Crown City to see …

BOOKSELLER

All is for the best.

PAGE 3

PANEL 1

A frumpy woman is trying on hats spread out on a street table in front of a haberdasher shop, preening in front of a display mirror. She is stocky, wearing a black coat, trying on a black pillbox hat. NOTE—draw her to look like the weeping woman on the front of the Moving Pictures cover. The store front behind the display table has the sign “WATCHMAKER’S OFFICIAL HABERDASHER #11.” The haberdasher is an old man with wrinkled face and wispy beard. He extends a bright scarlet hat toward her.

HABERDASHER

Those styles are fine, Madam, but THIS one matches your outfit best … this lovely BLUE hat.

WOMAN

Ahh … blue?

PANEL 2

Close-up of the haberdasher’s face to show white, milky, obviously BLIND eyes surrounded by wrinkles.

HABERDASHER

Oh yes, Madam. The Watchmaker chose me for this profession. It is my particular skill.

HABERDASHER

Trust me in this, you look beautiful.

PANEL 3

The frumpy woman turns and starts to walk away, adjusting the scarlet hat on her head, looking very happy. Owen is in the panel, watching, curious.

WOMAN

Very well, all is for the best.

PANEL 4

Owen is startled as the blind haberdasher turns toward him and extends a finger, pointing not quite at Owen.

HABERDASHER

And you, young man—a porkpie hat, I think. Yes, a porkpie hat.

OWEN

I … do need a hat. I left mine back home in Barrel Arbor.

PANEL 5

Owen takes the gray porkpie hat, two shot of Owen and the old haberdasher, whose wrinkled eyes are completely closed.

OWEN

But … you’re blind. How did you know I need a hat if you can’t see?

HABERDASHER

Because I expected you to come. How else could I do my business?

PANEL 6

Owen places the cap on his head, looks proud and pleased, even cocky.

OWEN

I think it’s just right.

PAGE 4

PANEL 1

A crowd of people on a side street, gathered there to watch some kind of show. Owen pushes his way, trying to see what they are all looking at. In front of the crowd stands a dapper man in a black bowler hat. (Note, he is the man on the cover of Hemispheres.)

OWEN

What is it?

DR. RUSSELL

Presenting, the inaugural performance of Dr. Russell’s Fabulous Clockwork Percussor!

DR. RUSSELL

Let us make a joyful noise!

PANEL 2

Spectacular panel showing the robotic steampunk drummer, wisps of steam creeping up from various joints and pipes. See “The Percussor” 3D animation from concerts, made by Tandem Digital.

PANEL 3

Tiny panel, Dr. Russell’s hand turns a crank to release steam.

MULTIPLE PANELS

Nick, see the animation. Several panels showing the wild robot drummer, large panels, small panels, to demonstrate the frenzy. (I wish I had an extra page to work with, but fill the rest of the page with the performance.) At some point in the crowd, either in Panel 1 above or here, include the father and two kids who are on the cover of Moving Pictures.

PAGE 5

PANEL 1

Crack in the glass case, and steam gushes out.

PANEL 2

Dr. Russell frantically twists knobs, shutting the thing down.

DR. RUSSELL

Oh … oh! Sorry, a little too energetic.

PANEL 3

The Percussor slumps as Dr. Russell grins at the crowd. Owen is staring, delighted.

DR. RUSSELL

We will be back for an encore as soon as I make a few minor adjustments and repairs.

OWEN

Amazing!

PANEL 4

Owen grins, walking down the street toward a set of stone arches, like the ones on the front cover of Moving Pictures. Regulators stand guard in front of each arch, but these Regulators wear red uniforms.

CAPTION (OWEN)

Everything is so incredible! How could even the Clockwork Angels be more marvelous than what I’ve seen already?

PANEL 5

Big panel. Owen approaches Chronos Square, which is behind the three arches. He looks up at the Watchmaker’s Tower (seen in Issue 1), but the high doorways on the tower (where the Angels emerge) are closed up tight.

CAPTION

But I’ll bet they are …

PAGE 6

PANEL 1

Owen marches up the stairs to the grim-looking red Regulator.

OWEN

Is this Chronos Square? When is the next performance of the Clockwork Angels?

REGULATOR

Do you have a ticket?

PANEL 2

Owen, baffled, looks out of place.

OWEN

A ticket?

REGULATOR

You should have been issued a ticket.

PANEL 3

The Regulator stares forward, stony faced, unimpressed as Owen pleads with him.

OWEN

Then how do I obtain a ticket? I’ve come a long way, and all my life I’ve wanted to see the Clockwork Angels …

REGULATOR

I’m not allowed to say. You should have been issued a ticket.

PANEL 4

Looking more intimidating, two other red guardsmen step up, shoulder-to-shoulder with their companion. Owen tries to peer between them through the arch.

OWEN

Is there a way I can just have a look at the Square? I’ve heard so much about it.

SECOND GUARDSMAN

Not without a ticket.

PANEL 5

Three guards standing together, implacable.

PANEL 6

Owen walks away, head down, dejected.

OWEN

Maybe I’ll try back tomorrow …

PAGE 7

SECTION HEADING—Make use of the Anarchist symbol, of “A” in a circle.

Nick, crank up “The Anarchist” from the Clockwork Angels CD to get prepared for this. I would like all the panels in this section (pages 7-9) to have bold black frames, maybe like a slash from a stick of charcoal.

PANEL 1

Close-up, old-fashioned spectacles with black lenses on a man’s face. Think of Gary Oldman in “Bram Stoker’s Dracula.”

CAPTION (ANARCHIST)

Some people see the world through rose-colored glasses.

CAPTION (ANARCHIST)

I have no use for that.

PANEL 2

Pull back to show the Anarchist’s face, wearing the black-lensed spectacles

PEDLAR (OUT OF PANEL)

What do you lack?

PANEL 3

Farther back to show that the Anarchist is standing at the opening of a dark alley, looking out into a busy Crown City street. Very close, walking past, is the Pedlar with his funky steampunk cart (which we saw in issue 1; he is also the Watchmaker in disguise).

PEDLAR (KEEPS CALLING OUT)

What do you lack?

ANARCHIST (MUTTERS)

What do I lack?

PANEL 4

Anarchist’s profile as he drops back into the alley shadows; he is silhouetted, entirely black. Captions are scattered like haphazard thoughts around the panel.

CAPTION (ALL FROM ANARCHIST)

Freedom

CAPTION

Flexibility

CAPTION

Spontaneity

CAPTION

The right to make my own decisions

CAPTION

The right to make my own mistakes … no matter who they hurt.

PANEL 5

The Anarchist shucks out of his street clothes in the alley shadows to reveal that he is wearing one of the red worker jumpsuits we’ve seen before.

ANARCHIST

What do I lack? What do they lack? Those sheep don’t even know …

PANEL 6

Small panel. The black-lensed spectacles are tossed onto the heap of clothes in the alley.

PAGE 8

PANEL 1

Wearing his red jumpsuit and carrying a metal toolbox (like a plumber’s toolbox, for instance), the Anarchist strolls up to a wooden door at the base of a tall clocktower, one of many in Crown City. He looks different without his black lenses, without his street clothes, but obviously the same person.

PANEL 2

The Anarchist presents a work order to an officious little clerk sitting at a desk (which has a clock on it) in a small office.

CAPTION (ANARCHIST)

It requires great effort and attention to keep a city running in perfect synchrony …

ANARCHIST

Reporting as ordered to check the clocks and adjust as necessary.

CLERK

Of course. Go on up.

PANEL 3

Up in the tower inside the clockwork room, large gears and shafts behind the clock face, the Anarchist kneels, sets down his toolbox

CAPTION (ANARCHIST)

Far easier to disrupt it all …

PANEL 4

Close-up, using a wrench and a screwdriver, the Anarchist fiddles with the complex gears.

CAPTION (ANARCHIST)

Tenth one today … So simple.

PANEL 5

Looking chipper, the Anarchist strolls out the wooden door of the clock tower, back into the street, carrying his toolbox.

CAPTION (ANARCHIST)

… like clockwork.

PANEL 6

Back in his street clothes again, the Anarchist stands by a park bench (no need to see much of the street view in this panel.)

CAPTION (ANARCHIST)

Back at the Alchemy College I was a great student, the best! I was the Watchmaker’s protégé …

CAPTION (ANARCHIST)

Until it all changed.

CAPTION (ANARCHIST)

Now I’ve found a different calling.

PAGE 9

PANEL 1

Our POV is from behind the Anarchist as he sits on the park bench. He has chosen a place where the view down the street shows numerous clock towers in the city. He is holding an open pocket watch in the palm of his hand.

CAPTION (ANARCHIST)

Not long now … Total disruption will happen precisely at five o’clock.

PANEL 2

Anarchist smiles. He has his black lenses on again.

CAPTION (ANARCHIST)

About time!

CAPTION (ANARCHIST)

It’s all about time …

SEVERAL PANELS

A sequence of different clock faces. The hands are moving crazily, changing, pointing in different directions. One says 3:12, one says 5:05, one says 6:30, one says noon, etc. Add at least one small panel showing a face or two staring up at the clocks in horror.

SFX (STRUNG THROUGHOUT PANELS)

BONNNGG! BONNNGG! BONNNGG! BONNNGG! BONNNGG! BONNNGG!

PANEL Y

Holding an apple with his tattooed hand (see issue 1), the Anarchist takes a bite.

PANEL Z

Pull back. Anarchist sitting calmly, utterly relaxed on the park bench as the streets are total chaos around him, people pointing up at the clocks, obviously frightened, some of them clinging to each other.

CAPTION (ANARCHIST)

All is for the best …

PAGE 10

PANEL 1

Back to normal frames again, Owen’s story.

Close-up, Owen rubs his eyes, waking up. In this and next panel, he is rumpled, obviously having slept on the streets.

CAPTION

Next morning …

CAPTION (OWEN)

I’ve slept outside before, under the apple trees in Barrel Arbor. This was a lot less comfortable …

PANEL 2

Adjusting his porkpie cap, Owen walks up to a group of people who have gathered around to watch: Blue-uniformed Regulators are standing firm to keep the crowd away. Red-jumpsuited workers are using a steampunk generator and high-pressure spray and a large brush to scrub more graffiti. The circled “A” symbol is next to large letters scrawled on the side of a building: WHO MADE THE WATCHMAKER? And DO YOU KNOW WHAT TIME IT REALLY IS? The crowd looks uneasy, muttering.

CAPTION (OWEN)

I wasn’t the only person in Crown City with a sleepless night.

MAN

Damned Anarchist! At least graffiti is better than blowing up bridges.

SECOND MAN

Didn’t he cause enough harm by sabotaging all the clocks in the city? I still don’t know if my pocketwatch is correct.

WOMAN

What does he want?

THIRD MAN

He wants us all to suffer! He wants to ruin the Watchmaker’s perfect Stability.

PANEL 3

Regulators disperse the crowd.

REGULATOR CAPTAIN

Citizens, disperse. Be about your business. Keep to your schedule.

OWEN

But what if I have no place to go?

REGULATOR CAPTAIN

Then go someplace else.

PANEL 4

As large as possible. I wish this could be full-page, but I just don’t have the room.

Owen comes upon a large city park that is filled with the most extravagant, fabulous, colorful, steampunk carnival! Striped pavilions, a Ferris wheel that looks like a giant watch gear, fluttering ribbons, crowds, booths. See pp 58-59 in novel for extensive description.

CAPTION (OWEN)

Someplace like this …

CAPTION (OWEN)

I still haven’t learned how I can see the Clockwork Angels, but this …

CAPTION (OWEN)

This …

PAGE 11

PANEL 1

Owen slips into a line of people passing through the gate, where a bearded lady is at a booth selling tickets. We’ll see the bearded lady in full in the next panel. This one should emphasize the crowd, the smiles on faces, the exuberance of Owen’s curiosity. A banner is stretched between two poles above the gate, César Magnusson’s Carnival Extravaganza. Owen tries to make conversation with the other people.

OWEN

I’ve never been to a carnival. They don’t often come to Barrel Arbor.

MAN

This one wasn’t on the schedule. I’m sure there’ll be an update from the Newsgraph office.

PANEL 2

Owen reaches the front of the line and is startled to see that the ticket taker is a bearded lady, LOUISA. (Neil dressed up as the bearded lady for a shot in the concert tour; I have a reference photo. Louisa should look like this, except she also has purple ribbons in her beard.)

OWEN

I … I’d like a ticket, please.

OWEN

I’ve never seen a bearded lady before.

LOUISA

I am the least of the marvels you’ll see in there, young man.

PANEL 3

Two-shot, another angle. Owen and Louisa. She hands him the ticket. (I’ll send a design for the ticket, which was used in the limited signed edition of the novel.)

OWEN

Thank you. Oh, and do you know how I could get a ticket to see the Clockwork Angels? You seem to have some knowledge of tickets.

LOUISA

I don’t have those tickets, dear boy! Isn’t our show enough?

LOUISA

NEXT!

PANEL 4

Owen in the Midway, crowds everywhere, lots of stalls, a knife thrower performing at one; a barker at a game booth is spinning a clockwork-gear roulette wheel at another.

BARKER

Big money! Big money!

PANEL 5

Three carnie clowns go prancing by in colorful, absurd outfits. One is banging a drum, another clashing cymbals together, while the third reaches out with an extended finger to poke Owen in the nose, while his eyes widen and he recoils in surprise. These three clowns are LEKE, DEKE, and PEKE and are meant to be Geddy, Alex, and Neil. Alex should be the one poking Owen.

PANEL 6

Owen gapes at a bronze-skinned, well-muscled strongman who is straining and lifting a barbell overloaded with weights. He sweats, grimaces, and his muscles look as if they’re about to explode. A big banner behind him says GOLSON! THE WORLD’S STRONGEST MAN!

VOICE (OUT OF PANEL)

What does the future hold for you, young man?

PAGE 12

PANEL 1

Owen stands before a bright red booth with windows, which holds the clockwork gypsy fortune teller. See Hugh Syme’s painting on p. 114 of the novel. The booth says GYPSY FORTUNE TELLER. There is a toy-like windup key on the side of the booth wall.

GYPSY FORTUNE TELLER

What does the future hold for you, young man?

OWEN

Are you talking to me?

PANEL 2

Small panel. Close-up of side of the booth, a slot for a coin that says “5¢”

PANEL 3

Small panel, Owen’s fingers insert a coin into the slot.

PANEL 4

Small panel, Owen turns the windup key

PANEL 5

Close-up of the old woman’s withered hands shuffling tarot cards, spreading them out on the flat surface in front of her. She is half-alive, half mechanical. Show some pulleys and gears in her arms/hands. A faint blue glow around some of her clockwork.

SFX

Whirrr whirrr clik clik clik

PANEL 6

The fortune teller’s head staring straight ahead as she delivers her reading. She looks artificial, robotic (in contrast with the next panel). Owen listens, amazed.

GYPSY FORTUNE TELLER

Justice against the Hanged Man. Knight of Wands against the Hour.

OWEN

But … what does it mean?

PANEL 7

Close-up. Gypsy fortune teller now looks alive, smiling, looks intently at Owen. (He does not need to be in the panel, if he doesn’t fit.)

GYPSY FORTUNE TELLER

The universe has a plan. We are only human—it’s not ours to understand … Owen Hardy.

PAGE 13

PANEL 1

Small panel, a puff of alchemical smoke and a flash of light bursts at Owen’s feet.

SFX

Poof!

PANEL 2

TOMIO stands there, a dashing Dartagnan-like young man with a thin sword in one hand and his other hand has just thrown the alchemical smoke bomb. He is laughing.

TOMIO

A-ha! That got your attention, young man. If you hurry, you can make it in time—see something more beautiful even than the Clockwork Angels!

PANEL 3

Tomio gestures with his sword toward a high-wire strung between two tall poles farther down the midway. A tiny figure stands silhouetted on a platform at the top of one of the poles. At the same time, with his other hand, Tomio flings another one of his smoke bombs, which explodes on the ground in front of them.

OWEN

More beautiful than the Clockwork Angels?

TOMIO

The amazing FRANCESCA—an angel of an entirely different sort! Run, boy!

SFX

Poof!

PANEL 4

At the top of her platform, we see the glorious FRANCESCA, raven-haired, gorgeous, wearing a white full-body leotard, a decorative cape (which hides a spring-loaded pair of metal wings). With a flourish, she places a long-stemmed rose in her mouth.

PANEL 5

Francesca walks out on the tightrope, one foot after the other, perfectly balanced, a vision of beauty. We see her from behind, walking away from us.

PANEL 6

Small panel. Owen is there in the crowd, tight on his face although we see other faces next to him (perhaps indistinct, to keep the focus on him). He stares up at her with sparkling eyes.

CAPTION (OWEN)

She is as beautiful as the Clockwork Angels. She has to be!

PANEL 7

Small panel, close-up of Francesca, looking down at the crowd. From position of faces in panels 6 and 7, we want to show that they are looking directly AT each other.

PAGE 14

PANEL 1

Dramatic shot from crowd level. Up on the high rope, Francesca spreads her arms as if she’s about to fly.

PANEL 2

Francesca LEAPS toward us, soaring in the open air, her black hair flying back, her cape rippling. She has a daredevil grin on her face, the rose still clenched in her teeth.

PANEL 3

Crowd shot, a group of faces—including Owen—all of them showing identical expressions of shock and horror.

PANEL 4

Birds-eye view, looking down on Francesca from above. From a hidden pack on her back, a pair of spring-loaded metallic angel wings snap out from beneath her cape.

SFX

Snikkk

PANEL 5

Francesca swoops down, pulling up to land gently in front of Owen.

OWEN

Ohh!

PANEL 6

Francesca hands Owen the rose, and he looks completely astonished as he takes it.

FRANCESCA

This is for you. I hope you enjoyed the show.

PAGE 15

PANEL 1

A troop of blue-uniformed Regulators marches along the Midway like an invading army, 12 of them like clockwork soldiers. The crowd parts for them. The officious guard captain shouts to the crowd.

REGULATOR CAPTAIN

Attention all citizens! By order of our loving Watchmaker, this carnival is officially closed. Please depart in an orderly fashion.

PANEL 2

CESAR MAGNUSSON steps up to face the Regulators, who crowd behind their captain like a sea of blue uniforms. Magnusson is the typical carnival ringmaster, beautiful red jacket, white jodhpurs, black boots, extravagant black handlebar mustache, short slicked-back black hair. Possibly with a black top hat. (Note for Nick: at the end we will learn that this is Francesca’s mother, with short hair, wrapped chest, fake mustache—so don’t make him/her look too masculine.)

MAGNUSSON

Excuse me, fine gentlemen. How may I help you? I am César Magnusson, proprietor of this carnival extravaganza.

MAGNUSSON

Perhaps the Watchmaker desires a ticket to see our show?

PANEL 3

The Captain flashes a wrinkled piece of paper, a permit, which he waves in front of Magnusson’s face. Magnusson strokes his handlebar mustache.

REGULATOR CAPTAIN

Irregularities were found in your permit. By decree of the Watchmaker, you must shut down these operations and remove all items by sundown.

PANEL 4

Louisa the bearded lady, Tomio, and Golson the strongman stand together, all looking disappointed.

PANEL 5

Magnusson claps his hands and shouts, turning to his carnies.

MAGNUSSON

But of course, Captain. We shall do as the Watchmaker wishes. All is for the best.

MAGNUSSON

LADIES AND GENTLEMEN, THANK YOU VERY MUCH! WE HOPE TO SEE YOU AGAIN SOON!

PANEL 6

Owen, looking stunned and lovestruck, holds the precious rose that Francesca gave him.

OWEN

Francesca … Yes, all is for the best.

PAGE 16

This section is from the Watchmaker. Use the same gear-tooth panel frame or page embellishment as was developed for issue 1.

PANEL 1

Large establishing panel. External shot of the Watchmaker’s tower, showing part of magnificent Chronos Square. Word balloons come from the tower, two people speaking, a Regulator Captain and the Watchmaker.

CAPTIONS (FOUR SINGLE WORDS, SCATTERED AROUND PANEL)

Tick.

Tock

Tick.

Tock.

REGULATOR CAPTAIN

Watchmaker, sir, all the clocks in the city have been reset. The schedule has been restored. Despite the chaos, the Anarchist caused no permanent damage.

WATCHMAKER

Not true, Captain. His disruption damaged the peoples’ faith in our Stability. He is an insidious man.

WATCHMAKER

I need to inspect my coldfire nexus beneath the square. Just to reassure myself …

PANEL 2

The Watchmaker, accompanied by his faithful clockwork Dalmatian, toils down a steep and spiraling stone staircase. Ahead of him is an intense blue glow, like phosphorescence.

CAPTION (WATCHMAKER)

Chronos Square is the heart of the city.

CAPTION (WATCHMAKER)

Crown City is the heart of Albion.

PANEL 3

The Watchmaker emerges into the underground chamber of the coldfire nexus, like an underground wellspring of alchemical energy, a pool of electric blue fluid with static sparks skittering across the surface. Vaulted ceilings, sewer-like tunnels extending in all directions under the city. Robed alchemist-priests stand around the edge of the pool.

CAPTION (WATCHMAKER)

And the coldfire nexus is the alchemical heart of everything.

CAPTION (WATCHMAKER)

I like to watch it beating.

CAPTION (WATCHMAKER)

It delivers energy throughout the city, charges steam boilers, illuminates street lamps, heats homes, powers hospitals.

CAPTION (WATCHMAKER)

With my Stability, the people lack for nothing …

PAGE 17

PANEL 1

Closer up, Alchemist-priests are dumping bags of powder, packets of crystals, vials of colored liquids into the great bath of the coldfire nexus.

CAPTION (WATCHMAKER)

My creation … tended by my best and brightest alchemical-priests.

CAPTION (WATCHMAKER)

Sulfur and antimony, mercury, natrium, and their associated distillates … These spells and rituals are the height of modern science.

PANEL 2

Extending from the great pool of the coldfire nexus, passages flow underground, like canals or sewer tunnels, flowing with the crackling blue liquid. Lightning dances along the curved walls and ceiling.

CAPTION (WATCHMAKER)

More than two centuries ago, before I came here, the whole city was a riot of smokestacks and slums.

CAPTION (WATCHMAKER)

People crowded in squalid conditions. A land rife with murder, sickness, poverty.

CAPTION (WATCHMAKER)

Disorder, mayhem … ANARCHY.

PANEL 3

A glowing blue light, a sphere like a streetlight floats like a will-o-the-wisp against the brick wall. The clockwork Dalmatian sniffs it.

CAPTION (WATCHMAKER)

Sprawling “civilization” was anything but civilized—until I came.

CAPTION (WATCHMAKER)

And saved them all.

PANEL 4

The chief alchemist-priest presents himself to the Watchmaker. He has a tall white hat, flowing robes stitched with alchemical symbols. I picture him something like the Patriarch in a Greek Orthodox church.

PRIEST

Watchmaker, sir, our alchemical stockpiles run low, but a new steamer is due in port tomorrow with a full cargo from Atlantis.

PRIEST

The Wreckers continue to prey on ships, but we are searching for alternate sources of the rare chemicals. Our Stability is secure.

PANEL 5

The Watchmaker has pulled out a pocketwatch, which he studies, while the Dalmatian sits primly at his master’s side.

WATCHMAKER

Of course it is. All is for the best.

CAPTIONS (FOUR SINGLE WORDS, SCATTERED AROUND PANEL)

Tick.

Tock

Tick.

Tock.

PAGE 18

PANEL 1

Owen goes down to the Crown City port, where the river empties into the ocean. Docks, ships, another zeppelin up in the sky. Owen looks at a big cargo steamer that is just coming up to the dock; deckhands throwing down big hawser ropes.

OWEN

From Barrel Arbor, I never thought the world was so big … and these ships come from even farther away!

PANEL 2

Owen stands on the dock, looking up at the workers. Using winches and cranes, with chugging steam-engines, the porters lift big crates out of the cargo hold. Uniformed men mark off inventory on clipboards. Each crate is marked with a bold alchemical symbol. Owen shouts up at one of the workers.

OWEN

Where did you sail from?

SAILOR

We brought a cargo of rare elements out Poseidon City—taken from the alchemy mines in Atlantis!

PANEL 3

Small panel. Seagulls flying around, wheeling above the ships.

PANEL 4

Owen looks at a big burn scar on the side of the steamer’s hull. He is shocked.

OWEN

Your ship is damaged! What happened?

SAILOR

Just a tussle with the Wreckers, but we got away. We carry precious gems and powders for the Watchmaker, so we’re a target.

PANEL 5

Owen stands on the gangplank as porters bustle past him. The conversational sailor and several of his comrades are up on deck, working hard, lifting boxes. They look at each other and laugh, unable to believe Owen’s question.

OWEN

Can I help?

SAILOR

Ha! Be my guest, lad!

PANEL 6

Owen smiles, his porkpie cap askew, as he carries a crate down the gangplank toward a steam-engine-powered cart. A man with a clipboard checks it off.

OWEN (TO HIMSELF)

I never thought I’d see and do so much in just a few days … and I haven’t even seen the Clockwork Angels yet!

PAGE 19

PANEL 1

Strolling down a street, Owen looks at an interesting museum-like building with an open door. The sign above says THE UNIVERSE (WATCHMAKER APPROVED) with the honeybee symbol.

CAPTION (OWEN)

I wonder if they’ve missed me yet back home in Barrel Arbor … my father, Lavinia, all the people in town.

CAPTION (OWEN)

There’ll be work to do in the apple orchard, the cider house. Fellowship at the Tick Tock Tavern, daily newsgraph reports …

CAPTION (OWEN)

But I’ve still got so much to see here! Such as …

PANEL 2

Inside, looking up at the domed ceiling: it’s painted black with stars like a planetarium, but dangling down and filling most of the area overhead is a giant orrery, a mechanical contraption with the sun in the center and planets on arms extending out from the sun, some of which have moons connected to them. It’s both fantastic and Rube-Goldberg. A wizened, bald old man comes up to stand next to Owen. They are the only ones in the room. He is the ASTRONOMER-DOCENT. [This could be two panels, if you have the room.]

OWEN

It’s the whole universe!

ASTRONOMER-DOCENT

This is the Watchmaker’s official orrery. The worlds and stars the way they should be, according to design—without any pesky retrograde orbits or elliptical deviations.

PANEL 3

Owen and Astronomer-Docent two-shot. The Astronomer-Docent gestures toward a steam-engine generator machine against the wall, which has a prominent coin slot.

OWEN

How does it work?

ASTRONOMER-DOCENT

The functionality of the planets and moons is available … for a nominal fee.

PANEL 4

Owen holds out his hand with just a few coins in the palm. The Astronomer-Docent snatches them.

OWEN

These are all the coins I have left …

ASTRONOMER-DOCENT

That will be nominal enough.

PANEL 5

Looking down from above, through the contraption which is now spinning and whirring, we see the small figures of Owen and the Astronomer-Docent looking up.

OWEN

I used to look up at the stars back home. I was brought up to believe the universe has a plan.

ASTRONOMER-DOCENT

The Anarchist is intent on disrupting the world, as he just did with so many clocks in Crown City … but here, ah, the universe is safe and secure. As it should be.

PAGE 20

PANEL 1

As it gets dark outside, Owen walks down the streets, which now look mostly empty. We see a shopkeeper locking up/closing shutters. Owen has pulled his trouser pockets inside out, holding the tips in his fingers to show how empty they are.

OWEN

No money … nowhere to go. No place to sleep …

PANEL 2

Night time now, glowing blue globes of coldfire street lights create an eerie atmosphere. Owen looks forlorn. At the corner farther down the street, a town crier yells out.

OWEN

This started out as an adventure, but now it doesn’t feel that way …

CRIER

Ten o’clock, and all is for the best!

PANEL 3

As Owen passes a dark and shadowy alley, he hears a hiss, sees the sinister shadow of a crouching figure back there, holding something in his hand, doing something to the wall.

SFX

Hssssssssss

OWEN

Hello? Who’s that?

PANEL 4

The shadow-man (the Anarchist) drops the object in his hand, bolts and runs out the other end of the (open) alley as Owen shouts and dashes in.

OWEN

Hey! What are you doing?

SFX

Clink clank

PANEL 5

Crouching down, Owen picks up a steampunk copper-sided spray can with gears and nozzles. He looks up in horror at fresh words spray-painted on the wall, along with the circle-A Anarchist symbol. TICK TOCK! TIME IS RUNNING OUT FOR THE WATCHMAKER. Some of the letters are running, dripping.

OWEN

The Anarchist!

PANEL 6

At the mouth of the alley where Owen has just entered, the silhouettes of several uniformed Regulators block the way.

REGULATOR

You there! Stop in the name of the Watchmaker.

PAGE 21

PANEL 1

Owen looks down at the spray can in his hand, in shock. The Regulators shout and charge into the alley.

OWEN (SMALL VOICE)

Oh, no …

REGULATOR

It’s the Anarchist! Take him!

PANEL 2

Owen drops the can and runs, hauling ass.

PANEL 3

Owen runs, bolting around a corner. (I would prefer to have one more panel of him running/being chased, if there’s room.)

PANEL 4

In a dark public park with silhouetted trees (in theory, the same now-abandoned public area where the carnival had been set up, but that’s probably too much to convey). Owen, panting, slumps against a tree trunk.

OWEN

Safe at last … Maybe a place I can rest, get a new start tomorrow …

PANEL 5

Owen is more relaxed at the base of the tree (a callback to how he relaxed against the apple tree in Issue 1). His change of position implies that time has passed. Two Regulators grab Owen by the arms, yanking him to his feet.

REGULATOR

What do you think you’re doing? You can’t stay here—this is a public park.

REGULATOR 2

Where are your papers? Where do you belong?

OWEN

I’m not the Anarchist! Honest!

REGULATOR 2

We are not the Anarchist detail. But if you don’t have your papers, you don’t belong in Crown City.

PANEL 6

The Regulators wrestle a baffled and protesting Owen into the back of an oddball steampunk paddy wagon.

OWEN

But I’m not from Crown City. I’m from a small village. I just came—

REGULATOR

Everything in its place. We will help you on your way.

REGULATOR 2

Yeah, we’ll give you a head start. … Far away from the city.

PAGE 22

PANEL 1

Owen brushes himself off and tries to regain his dignity as he walks away. Behind him, the paddy wagon is small in the distance, driving back toward Crown City. It’s dark, scrub grass all around, but Crown City has a bright glow in the distance behind him.

OWEN

Must be what I deserve … On my way at last.

PANEL 2

Forlorn, Owen trudges along into the unlit night. Lots of stars overhead in a black sky.

OWEN

Even though I don’t know where I’m going.

PANEL 3

Crossing grassy terrain, he climbs up a gentle hill. There’s a curious glow coming from the other side of the hill.

PANEL 4

Big splashy panel. Reaching the top of the hill, Owen looks down to see the sprawling, colorful, and well-lit camp of the Magnusson Carnival Extravaganza! This is where they set up after being chased from the city—tents and pavilions, practice areas, animal wagons. Everything looks colorful and welcoming. Owen has a smile of relief on his face.

OWEN

But maybe I’ve found where I’m supposed to be …

END OF ISSUE 2

***

ISSUE 3

PAGE 1

PANEL 1

Big dramatic panel, nighttime. TOMIO in his dashing, swashbuckling clothes thrusts his rapier forward, its tip just touching Owen’s chest. Owen is panicked, drawing back, arms up. In the background we see the carnival set up, campfires and blue coldfire glows from lanterns. Tents around, carnies; some of them have turned to stare at the tableau.

TOMIO

Who goes there? What business do you have with the Magnusson Carnival Extravaganza.

OWEN

I’m O-Owen … Owen Hardy. From Barrel Arbor. I saw the lights … I just came to see.

PANEL 2

Flippant and giving him a rakish grin, Tomio lifts the rapier and rests it casually on his own shoulder.

TOMIO

Well, then, Owen Hardy from Barrel Arbor, you may look all you like. I’m Tomio, alchemist, fire-eater, night-watchman, and soon to be expert swordsman.

[LINK]

Why are you here?

PANEL 3

Owen close-up, befuddled as much as frightened.

OWEN

Because … I’m here. I was run out of Crown City and I’m far from home.

[LINK]

I don’t have anywhere else to go.

PANEL 4

Big panel, all the other carnies come forward (not Francesca)—we see Louisa the bearded lady, Golson the strongman, the three clowns Leke, Deke, and Peke, Cesar Magnusson with his big mustache, and other roustabouts, all gathering to welcome Owen.

TOMIO

Then this is exactly where you belong.

PAGE 2

PANEL 1

Establishing shot of the carnie camp next morning, viewed from a high angle. Tents and busy activity. Roustabouts are tearing down pavilions, poles, loading up wagons. Tables are set up, cookfires going. We can see a small figure (not prominent) walking a practice tightrope strung between two poles.

CAPTION

Next morning.

PANEL 2

At a long plank-and-trestle breakfast table, carnie workers are eating from plates, sitting next to one another, chatting. LOUISA the Bearded Lady is there in a lavender dress, ribbons tied in her beard. Owen is gathering up dirty plates. At some point in this scene, either Panel 2 or 3, show a barrel or a bowl of apples, which we’ll need on the next page.

LOUISA

We’re all misfits here, Owen Hardy. Even the Watchmaker doesn’t know our exact schedule.

OWEN

I’m a hard worker. I’ll help wherever I can. I used to be the assistant apple orchard manager …

PANEL 3

Francesca appears, raven-haired, dressed in workout clothes (she’s just been on the practice tightrope). She’s gorgeous, the type of person who can—and will—steal your heart with a glance.

FRANCESCA

Unfortunately, we don’t have any apple orchards to tend. You’ll have to find a useful skill if you’re going to stay with the carnival.

PANEL 4

Owen is breathless, smitten with her. In the background of the panel, sepia-toned (to indicate flashback/dream) is the same art from p. 14, Panel 1 in issue 2, of Francesca on the tightrope.

OWEN

You … you’re the amazing FRANCESCA! I watched you perform!

PANEL 5

Small panel, Owen’s hands—after fumbling with his pockets, he withdraws the crumpled, worse-for-wear rose she gave him.

OWEN (OUT OF PANEL)

You gave me a rose. I kept it.

PANEL 6

Tomio stands next to (very close to, in a congenial brotherly fashion) Francesca, his eyes sparkling, his face lit up. Francesca is embarrassed, rolling her eyes.

TOMIO

You’ve been flirting again, dear Francesca. Now we have to find something for the boy to do, because he’ll never leave!

PAGE 3

PANEL 1

Smiling playfully, Francesca snatches an apple from the bowl or barrel that was cleverly planted on the previous page. She tosses it to Owen.

FRANCESCA

An assistant orchard manager would never let his apples get bruised …

[LINK]

Catch!

PANEL 2

Owen scrambles to catch it while Francesca lobs a second one at him

FRANCESCA

Catch!

PANEL 3

With an alarmed look on his face, Owen juggles the two as a third apple comes flying at him.

OWEN

Wait, that’s too many!

PANEL 4

Small panel, the three red apples suspended in the air in a triangular arrangement exactly like the three red spheres on the cover of the Rush Hold Your Fire album.

FRANCESCA (OFF PANEL)

See … we could use a juggler.

PANEL 5

Out on the field, Cesar Magnusson shouts to bring the carnies in order. They are tearing down the tents, loading up the wagons (which are strange steampunk gypsy wagons). Lots of activity. Owen (cradling the three apples in his arms) and Francesca at the edge of the panel.

CESAR MAGNUSSON

Everybody load up! Time for the caravan to head out for our next performance on the outskirts of Crown City.

FRANCESCA

You can ride with me, Owen Hardy from Barrel Arbor. Unless you’d rather walk?

OWEN

No! Oh, I mean, no I wouldn’t rather walk. I mean I’d rather …

PANEL 6

Owen and Francesca riding in the front of a steampunk wagon contraption, something like the buckboard of an old West wagon.

FRANCESCA

So tell me about all the exciting things in Barrel Arbor.

OWEN

That won’t take long.

FRANCESCA

I know—I’ve been there … or at least a hundred small towns just like it.

PAGE 4

PANEL 1

Long, narrow panel: the circus caravan of wagons, flatbeds, some of them even augmented with balloons for levitating (as with the steamliners) rolls across the landscape. Owen and Francesca are tiny figures riding in the front of one of the wagons.

OWEN

I’ve had a lot of adventures already, but I really wanted to see the Clockwork Angels.

OWEN

But the Regulators turned me away because I didn’t have a ticket …

PANEL 2

Francesca looks at Owen, smiling.

FRANCESCA

You’ve never seen the Clockwork Angels? We can go into the city and see them tonight after we set up the show.

[LINK]

The carnival always has extra tickets.

PANEL 3

From her skirt, Francesca removes a pair of elaborate tickets and holds them in her hand. Panel is close-in on the tickets in her hand. Nate, I will send you the design of the tickets … ECW created them for signed bookplates in the novel’s special edition.

FRANCESCA

They’re counterfeit, of course …

PANEL 4

Exact same shot (like a dissolve in a film), Francesca’s hand holding out the tickets, but now it’s dark around them and she is handing the tickets to a Regulator in Chronos Square.

CAPTION (FRANCESCA)

“ … but the Regulators will never know the difference.”

PANEL 5

Big panel, Francesca and Owen walk with a large eager crowd through the gates (which Owen could not enter in the previous issue).

PANEL 6

Inside Chronos Square, Owen looks up at the enormous and impressive Watchtower with the closed doorways on top from which the angels will emerge.

OWEN

Chronos Square! I can’t believe it. My mother always talked about the Angels … before she died.

[LINK]

I wish she could have seen them herself …

PAGE 5

PANEL 1

Ground level, we see wisps of ominous blue-tinted smoke wafting up from grates in the ground, like rising fog. This is a subtle drug-smoke that puts the people into a placid, receptive state.

PANEL 2

Viewed from above, a sea of faces, wide-eyed, smiling, in an ecstasy of anticipation. You know, the sort of thing Neil sees from behind his drums at a Rush concert. Little voice balloons coming from various members of the crowd

CROWD

It’s starting …

It’s starting!

The Angels!

PANEL 3

Owen and Francesca standing together, pressed close because of the crowd, tendrils of the smoke all around.

NOTE to Nick: As the smoke gets thicker and the people get more buzzed, maybe weave tendrils of smoke around and between the panels, and as this scene goes on we could fade the panel boundaries themselves, make them softer, eventually even leave the art without any panel frame at all to imply that the audience is getting fuzzier.

OWEN

I feel … dizzy.

FRANCESCA

You’re just excited. It’s the presence of the Angels.

PANEL 4

Around the edge of Chronos Square are glowing globes of crackling blue coldfire, like levitating streetlights. Thin arcs of static electricity lance from one globe to another. (Use art effects to make this look like real electricity.)

SFX

ZzzZZZZTTTT

PANEL 5

SPECTACULAR! On the top of the tower, the four doorways swing open and the Angels emerge, towering winged stone figures, silhouetted, and backlit by a streaming flood of golden light that looks as if Heaven itself is behind them inside the tower. LETTERER: The Angels speak in a strange, ethereal font.

ANGEL #1

Lean not upon your own understanding …

ANGEL #2

Ignorance is well and truly blessed.

PAGE 6

PANEL 1

Angel #3 in full frame, stone wings spread, beautiful samite robes, but the head/ face itself is just a dazzling glow of LIGHT, like a sun, as if the Angels contain so much beauty that no human can bear to behold them.

ANGEL #3

Trust in perfect love and perfect planning.

PANEL 2

The crowd in ecstasy now, all of them raising their arms as if to fly, in an impossible imitation of the Angels.

PANEL 3

Small utterly poignant panel, close-up of one man staring up with tears pouring down his face.

PANEL 4

Angle from slightly above and behind the fourth Angel, outstretched stone wings fill much of the panel, and we look at the back of the Angel’s head, seeing the stone hair, but not face. The angel is surrounded by a faint glow. In front, seen from a great distance, the crowd is far far below.

ANGEL #4

Everything will turn out for the best.

SMOKE CURLS IN THE MARGIN BEFORE THE NEXT PANEL

PANEL 5

The front of the Watchmaker’s Tower, all four Angels retreating now, back into the tower, with the wooden doors swinging shut, but dazzling sheets of light still pour out from between the cracks.

PANEL 6

Owen is overjoyed, overwhelmed.

OWEN

So … beautiful. I almost couldn’t bear to look at them! Oh … I’ve never seen something so wonderful!

PANEL 7

Laughing, Francesca kisses him on the cheek, which he seems to find as amazing as the Angels. (Can combine panels 6 & 7, if it works.)

FRANCESCA

Ha, I’ve seen the Angels many times before, Owen Hardy, but I’ve never seen such a look of pure amazement in my life! Thank you!

PAGE 7

PANEL 1

Large panel, a bright sunny day with the carnival in full swing. Colorful tents, crowds walking about, banners and ribbons flying, the giant watchgear Ferris wheel.

CAPTION

Next day

Next week

Next month

PANEL 2

Owen on the midway, still with his jaunty porkpie cap, juggling apples. Owen should be in exactly the same position as the man juggling fireballs from inside the Hold Your Fire lyrics booklet. Louisa the bearded lady is standing next to him, watching with an amused expression on her face.

OWEN

See, Louisa. I’m getting better.

LOUISA

My advice, Owen Hardy … keep practicing.

PANEL 3

From below, as he has moved on, Owen looks up to see Francesca walking along a high wire strung between two poles. He smiles at her, and she smiles down at him.

PANEL 4

Leke, Deke, and Peke, the three clowns, goof off in the crowd doing pratfalls.

PANEL 5

Golson the strongman lifts a ridiculously oversized barbell, his muscles bulging, while a group of children around him are laughing and cheering him on.

PAGE 8

PANEL 1

Carrying a canteen, Owen climbs up the pole to Francesca’s tightrope, not quite steady as he works his way up the hand and foot pegs.

PANEL 2

Bigger panel. Francesca, looking beautiful “an angel with wings on her heels” stands halfway across the rope, facing Owen as he stands on the small platform at the end of the rope. He is holding the canteen in one hand. Even though she’s the one standing on a wire, she looks more at ease than he does.

FRANCESCA

Come to join me, Owen Hardy?

OWEN

I … I brought you some water.

PANEL 3

Francesca has a devilish, seductive smile on her face as she reaches out a hand and beckons. She hasn’t moved a step closer to him.

FRANCESCA

Come on then … bring it to me.

PANEL 4

Extremely nervous, Owen tentatively puts a foot on the rope, keeping his other foot on the stable platform.

PANEL 5

Small panel, close-up of Francesca.

FRANCESCA

I’ll make it worth your while …

PANEL 6

Small panel, close-up of Owen’s foot on the rope.

PANEL 7

Owen sways back on the small platform. He is very embarrassed. Francesca can be out of the panel.

OWEN

I can’t …

FRANCESCA

Maybe next time …

PAGE 9

PANEL 1

Dusk, at camp. The crowds are gone; Tomio’s trailer, a hodgepodge laboratory and residence. Wisps of nasty-looking green-brown smoke curl up from the window of Tomio’s trailer, as well as a bright flash of light. From the crooked chimney/air vent in the roof, an entirely different smoke wafts out, this one lavender.

SFX

THHHHHWUMMMMP

PANEL 2

In the middle of their chores (setting up, cooking, practicing games, everyday stuff) the other carnies look up, undisturbed, some looking annoyed (“Not again…”). Owen is the only one who seems alarmed as he dashes toward the trailer. Louisa and Golson the strongman are standing nearby, not terribly impressed. Golson’s nose is wrinkled in distaste.

OWEN

That’s Tomio’s trailer!

LOUISA

He’s at it again with those experiments of his.

GOLSON

This one smells worse than they usually do …

PANEL 3

Big panel. Owen has flung open the door and stands at the threshold, but the main focus of the panel is the interior of Tomio’s trailer, an alchemy lab and a library, all kinds of pots and beakers spread out on the table, bookshelves filled with impressive-looking tomes on the wall. Tomio looks singed, rumpled, and flustered. But the really cool thing is that the air is full of ethereal bright flame sprites, like small fiery hummingbird elementals flitting about.

OWEN

Tomio! What happened? Are you all right?

TOMIO

Well, it worked …

TOMIO

Sometimes I don’t know as much about alchemy as I think. But sometimes I do.

PANEL 4

Tomio pulls a thick leatherbound volume from his shelf (we only see the spine, not the front) while Owen swats at a pesky fire sprite.

TOMIO

There’s still plenty to discover. I went to the Alchemy College, but didn’t fit in.

TOMIO

I even had an apprentice here at the carnival …

PANEL 5

Close-up of Tomio; he looks grave, disturbed. There is a smudge/singe on one side of his face.

TOMIO

D’Angelo Misterioso … The Mysterious Angel. Too impulsive. Too ambitious. Too unsteady.

TOMIO

I had to make him leave. It was … unpleasant.

PANEL 6

Tomio places the book down on his workbench. (Panel focuses in on only the book; not much other background is necessary.) On the cover is embossed the alchemical symbol for PRECIPITATE, the Anarchist’s symbol with stacked dots inside an open square. The reader will recognize this from the tattoo on his hand.

TOMIO (OFF PANEL)

He was dangerous then. He is worse now.

PAGE 10

PANEL 1

It’s dark outside. Owen crouches beside the red-enameled side of the gypsy fortune-teller’s booth. He is turning the wind-up key in the side.

PANEL 2

Small panel. Inside the booth, the fortune-teller’s gnarled, ringed hand whirrs and twitches over her spread-out tarot cards. (If you show any of the cards, use drawings from inside the Vapor Trails lyrics booklet. I can provide scans if you need them, Nick.)

SFX

Whhrrrrrrrrrr

PANEL 3

Owen sits back, hunkering down with his back to us, gazing up at the glass window that now illuminates the old fortune teller; he looks like a kid entranced by a TV.

OWEN

I know you’re alive in there … really alive. Francesca even told me you’re her great-great grandmother.

PANEL 4

Fortune teller in her box. This panel should be similar to Hugh Syme’s painting of the fortune teller in the novel.

FORTUNE TELLER

I am many things … I was one of the Watchmaker’s early experiments.

PANEL 5

Close-up of the Fortune Teller’s withered face, tight in on her eyes, glowing with a strange blue, an evil-looking expression.

FORTUNE TELLER

He was desperate.

PANEL 6

Owen is rapt, looking up at her.

OWEN

Desperate … How can that be? And you’re so old—do you remember the ancient times before the Stability? Before the Watchmaker?

[LINK]

Were they terrible?

PANEL 7

Fortune Teller’s face, eyes closed as if in a sigh, remembering.

FORTUNE TELLER

Oh, yes, I remember those times. But they weren’t all terrible.

FORTUNE TELLER

I wish that I could live it all again.

PANEL 8

Small panel: the windup key runs down.

PAGE 11

PANEL 1

Small panel, close-in, Golson’s taped fist SLAMS into a straw-stuffed sack. We just see the fist and the impact.

SFX

WHAMMM

PANEL 2

Pull back to show full scene, the straw-filled body-sized punching bag, Golson in just his trunks hammering at it, working up a sweat. Owen is standing nearby, watching. Daylight, early morning.

GOLSON

Gotta get pumped up on show day. *Oof* Loosen up before the crowds come in. *Uhh*

PANEL 3

Different angle, Owen watches as Golson continues his workout.

OWEN

You’re the strongest person I’ve ever met, Golson.

GOLSON

You’re strong, too, kid. I can see it, but don’t be afraid of your strength. *Ooof* Don’t be afraid to be strong. Here, let me show you.

PANEL 4

Owen, looking scrawny beside Golson, does his best to hammer the bag, with Golson standing behind him, helping, grinning.

OWEN

You’ve all made me stronger. I feel at home here … Home. Though I do miss Barrel Arbor.

OWEN

*Sigh* And today is my birthday.

PANEL 5

A big table, one of the trestle tables seen on page 1, but this one has a large birthday cake in the middle of it filled with candles. All of our favorite carnie characters are around. It’s late at night, to imply this is later, after the day’s show.

ALL

HAPPY BIRTHDAY, OWEN HARDY!

PAGE 12

PANEL 1

Dressed in his dashing tails, top hat, huge mustache, Cesar Magnusson.

CESAR MAGNUSSON

Let this be a special carnie celebration for you. Your first birthday among us … as one of us!

PANEL 2

Goofing off, the clowns flounce past; Leke has on a ridiculous raven haired wig and the metal-slatted Angel wings (obviously pretending to be Francesca) who struts along, head held high, and ignoring Peke who wears a porkpie hat and stumbles along in “Francesca’s” wake, like a mooncalf, while Deke follows, waving a piece of birthday cake on a plate.

DEKE

Happy birthday! Hey, don’t you want your present?

PANEL 3

Francesca laughs at the joke, while Owen looks horribly embarrassed, tries to shrink down into himself, and mutters.

OWEN

I have no idea what that’s all about …

PANEL 4

Still laughing, Francesca stuffs a piece of cake in his face.

FRANCESCA

Yes, you do. Eat your cake.

PANEL 5

Later, Owen has followed Francesca to her tent. They are all alone. She pauses outside.

FRANCESCA

You really have changed things around here, Owen Hardy. I hope we made your birthday special.

PANEL 6

Standing at her tent, she opens the flap, holds it invitingly as she looks at him.

FRANCESCA

Come inside. I have something else for you …

PAGE 13

PANEL 1

THE WATCHMAKER—use the same graphic conceit as in previous issues, a background pattern to show that this is the Watchmaker’s section.

At his desk, the Watchmaker stands holding a piece of paper in his hands, a report. Trick the view so we see that this is a longish sheet of paper, but cannot see the bottom of it. In one or more panels on this page or next, try to show Martin the Dalmatian curled up and motionless on the floor.

CAPTION (WATCHMAKER)

In youth, one might search for riches. In middle age, a man might want power. Now, after two centuries of life, I consider TIME to be the most precious thing.

PANEL 2

A black-uniformed Regulator Captain appears in the workroom, presenting his report. The Watchmaker looks up from his paper (again, we don’t see much of the paper).

GUARD CAPTAIN

Sir, we have dispatched the invitation, as you requested. The Magnusson Carnival Extravaganza has been invited to a special performance in your honor.

WATCHMAKER

Good. See that Chronos Square is prepared.

PANEL 3

Another shot of the Guard and the Watchmaker, waist-high only.

GUARD CAPTAIN

But if I may ask, sir? Why this particular carnival?

WATCHMAKER

The universe has a plan, Captain. It is not yours to understand.

PANEL 4

Pull back to reveal that the paper the Watchmaker is holding is just the end of a LONG printout of paper, like a wide sheet of tickertape, that curls around his desk and trails across the room and off into the corridor, seemingly infinite.

WATCHMAKER

Rest assured that I have reviewed all the details …

GUARD CAPTAIN

All is for the best.

CAPTION (WATCHMAKER)

TIME. Precious time. Tick. Tock. Tick. Tock.

PANEL 5

The Watchmaker looks up, wistful. Around him, instead of the workroom, we see a sepia-toned [or could be black-and-white…even a rosy wash, to distinguish from pp 1-2 of issue 1] flashback of a cute little girl running through a field of flowers, with her young father (the Watchmaker) looking on with an indulgent smile.

CAPTION (WATCHMAKER)

In an early experiment, I used all the secrets of alchemy to keep my dear daughter alive, even when she did not wish it. Every father would have done the same.

CAPTION (WATCHMAKER)

I paid the price. I did not count the cost. I saved her … and I lost her.

CAPTION (WATCHMAKER)

Now she lives, travels with the carnival as a strange and ancient curiosity. I see her when I can.

CAPTION (WATCHMAKER)

She knows I am watching.

PAGE 14

PANEL 1

In his large tower workroom, the old Watchmaker sits at a worktable, hunched over a complicated apparatus. He has a weird multi-lensed contraption strapped to his head as he peers down at the apparatus, using both hands with delicate tools. More tools are arrayed on the table around him. The apparatus is the clockwork heart of one of the Angels.

CAPTION (WATCHMAKER)

Wheels within wheels …

CAPTION (WATCHMAKER)

Only I understand the intricacies and precision required to keep the perfect machinery in motion.

PANEL 2

Close-up, the Watchmaker’s hands working tools, probing inside the Angel’s heart, which is crystalline, filled with gems and tiny watchgears. The Watchmaker’s sleeves go all the way to his wrists. The heart is not glowing, just dead machinery at the moment.

CAPTION (WATCHMAKER)

Sloppy work is the work of chaos.

PANEL 3

Close-up, the Watchmaker’s head in profile, staring intently down at the contraption.

CAPTION (WATCHMAKER)

I make sacrifices. I do what is necessary …

PANEL 4

The Watchmaker reaches up to adjust one of the lenses, bringing a red lens down into place. As he does so, his sleeve slips down his arm, and we can see that his arm is laced with blue-glowing tubes, support struts, clockwork gears. He’s partially a clockwork device, too!

PANEL 5

Fastidious, the Watchmaker tugs the sleeve back down to his wrist to cover up the clockwork.

CAPTION (WATCHMAKER)

… no matter what it does to me.

PANEL 6

He deftly clicks the fragile and beautiful mechanical heart closed.

SFX

Snik

CAPTION (WATCHMAKER)

A truly loving Watchmaker cannot grow complacent.

PAGE 15

PANEL 1

The Watchmaker pours a vial of glowing blue liquid (like what he poured into the back hatch of Martin the dog in issue 1) into an opening in the heart contraption.

CAPTION (WATCHMAKER)

My Angels represent each of the four elements: Light. Sea. Sky. Land.

CAPTION (WATCHMAKER)

Only I control the fifth element. The quintessence. Life.

PANEL 2

The Watchmaker walks up into the clocktower. He holds the glowing, crystalline, jewel-like, throbbing mechanical clockwork heart in his hands, like a triumph. In the background we see one of the Angels in her alcove, facing away from us, surrounded by shadow.

CAPTION (WATCHMAKER)

The Angels, my beautiful Angels …

PANEL 3

The Watchmaker stands at the stone back of one of the Angels, where there is a hinged opening. He inserts the mechanical heart into her back.

CAPTION (WATCHMAKER)

My most perfect accomplishment.

PANEL 4

Big dramatic panel: The Watchmaker stands back as the Angel glows with light (still facing away from us). Her stone wings spread out gloriously as she stretches.

WATCHMAKER

Animate!

PANEL 5

Extreme close-up of the Angel’s stone eye—-gray stone and unnatural, like an alabaster statue. It is narrowed, filled with hate. Inside the stone iris, the pupil is FILLED WITH clockwork gears.

CAPTION (WATCHMAKER)

Why do they hate me so?

PAGE 16

PANEL 1

Back at the carnival, bright sunlight, the carnies gathered around the camp. (It’s not a show day.) Cesar Magnusson stands on one of the trestle tables in his full costume. He holds up a fancy proclamation in his hand, the back of which is stamped with the honeybee symbol of the Watchmaker.

CESAR MAGNUSSON

Attention all carnies! We have received a great honor! The WATCHMAKER HIMSELF has invited us to perform for him in Chronos Square.

CESAR

We have tickets for everyone.

PANEL 2

With Magnusson continuing his announcement, while the other carnies are listening in delight, Owen is staring across the crowd, starry-eyed at Francesca, who is on the other side of the crowd, chatting and chuckling with Tomio. Use lighting and color to emphasize that our focus is on Owen and his connection to Francesca. Tickets are being passed around, and Owen takes his without really paying any attention.

CESAR (CONTINUES)

This is remarkable. Two days from now, the Watchmaker will be watching US.

PANEL 3

Owen, looking very nervous, stands outside Francesca’s tent. She opens the tent flap to face him.

OWEN (VERY SMALL VOICE)

Francesca …

FRANCESCA

Owen Hardy, I didn’t know I gave you a permanent invitation to come to my tent!

OWEN

I …

PANEL 4

In his hands, pleading, he holds out the dried and rumpled rose she gave him earlier.

OWEN

F-Francesca, I—I can’t think of anyone but you. We’re going to perform for the Watchmaker, and then the carnival is going to some small towns … even Barrel Arbor before the end of the season!

OWEN

When we’re there, you can meet my father. We could be together. Settle down. I’d be apple orchard MANAGER. We could … please … we could get married—

PANEL 5

Close-up Francesca. She is startled, shocked, laughing.

FRANCESCA

Oh, Owen Hardy! You’re such a sweet, silly, unrealistic boy!

FRANCESCA

I’d never let myself be trapped like that!

PANEL 6

Owen stands there, mouth open, tears welling in his eyes, paralyzed with the devastating news that she has turned him down. He is completely crushed.

PANEL 7

Owen runs away, fleeing toward us, while in the extreme background we see a dismayed-looking Francesca calling after him.

FRANCESCA

Owen, wait. I didn’t mean—

PANEL 8

Close-up of the crumpled rose on the ground in front of Francesca’s tent.

PAGE 17

PANEL 1

Long panel, Owen walks into the night away from the carnival. It’s an open field, shadowy. Behind him in the distance are the lights of the carnie camp. He has almost reached a line of steamliner tracks that run mostly perpendicular to his path.

CAPTION (OWEN)

What did I see?

PANEL 2

Owen, head hung down and devastated, walks on the tracks between the rails, which dwindle to a vanishing point in the distance, heading toward the glowing city lights of Crown City. (All rails lead to Crown City, of course.)

CAPTION (OWEN)

Fool that I was!

PANEL 3

Dramatic panel. Suddenly, the Anarchist is standing there, a big ominous figure, cape flowing behind him. Owen is startled, looks small in comparison.

ANARCHIST

I knew you’d be here. So predictable.

OWEN

You … you’re the man from the steamliner!

PANEL 4

Close-up of the Anarchist with his devilish smile, he holds up his hand to gesture, and we can prominently see the Precipitate symbol tattooed on his hand.

ANARCHIST

I am many things and many places. You never know who, where, or when.

[LINK]

That’s the whole point of freedom, Owen Hardy. Extreme order will kill us all.

PANEL 5

With the Anarchist behind him, Owen turns and looks at the distant lights of the carnival camp. Now the steamliner tracks are beginning to glow a pale blue (because a steamliner is coming).

ANARCHIST

Think of all you’ve seen and done since you left your boring little town. You’ve LIVED. It’s nonsense to regret that.

OWEN

How would you know? My heart is broken. I’m all alone. I never should have left my home.

PAGE 18

PANEL 1

They walk together down the brightening tracks heading toward the hazy lights of Crown City. Behind them, still small and far away, a steamliner is coming.

ANARCHIST

You’ve been brainwashed by the Watchmaker’s Stability. Freedom is necessary, but it’s not free—or easy.

ANARCHIST

The Watchmaker is the problem. Crown City is the problem. Too much order is a crutch—and I intend to knock that crutch away.

PANEL 2

Anarchist close-up. His expression is like broken glass.

ANARCHIST

The thing about getting back up and standing on your own two feet …

[LINK]

You have to FALL first. And I intend to make all of Crown City fall. For our own good.

PANEL 3

Owen draws away from the Anarchist who keeps walking down the tracks. Owen is unsettled, standing up for himself, hands on his hips. The steamliner is getting closer.

OWEN

You’re d’Angelo Misterioso! Tomio warned me about you. He said you’re dangerous.

ANARCHIST

And I say Tomio is a coward, worries too much about people. But are you brave enough, Owen Hardy? Do you have the nerve to help me?

PANEL 4

Owen steps off the tracks and stands on the siding, while the Anarchist keeps walking along. The rails are blazing blue with coldfire now and the steamliner is getting close. The Anarchist pays no attention to it whatsoever.

ANARCHIST

It’s simple, really. Any alchemist could do it. Like resetting the clock.

[LINK]

Destroy Chronos Square. Destroy the coldfire nexus. Destroy the Watchmaker’s tower.

[LINK]

That should do the trick.

OWEN

But that would wreck civilization! It would be chaos! Complete—

PANEL 5

The Anarchist stands at the side of the track, reaching out his hand toward the oncoming steamliner, but not even bothering to look at it. The steamliner isn’t in this panel, just the Anarchist’s figure, but he is bathed in an eerie, brightening blue glow.

ANARCHIST

Yes, ANARCHY! And all is for the best.

PANEL 6

Big panel, the thundering steamliner swoops past, huge and chugging, half-levitated by colorful balloons, connected with freight cars. The Anarchist has grabbed a bar next to an open cargo car and is swept up, calling back at Owen.

ANARCHIST

It’ll be glorious! Think about it.

PAGE 19

PANEL 1

It’s dawn, Owen is outside of Crown City, approaching it from alongside the tracks. He looks rumpled, has been trudging for days.

CAPTION

Two days later …

CAPTION (OWEN)

How can all be for the best? And who decides that?

CAPTION (OWEN)

The Watchmaker?

CAPTION (OWEN)

The Anarchist?

CAPTION (OWEN)

Or me?

PANEL 2

Owen enters the city streets, which are vibrant and bustling as before in Issue 2, but now the colors are muted. We can see a few more shadows, a little more drabness. At some point, either here or in Panel 4, please put in the “Permanent Waves” woman (from the album cover of Permanent Waves, but probably in the position she is on the album cover of Exit Stage Left.

CAPTION (OWEN)

I’m too far from home, but I can’t go back to Barrel Arbor.

CAPTION (OWEN)

Or the carnival.

CAPTION (OWEN)

Francesca …

PANEL 3

Close-up of Owen’s face, tight on his eyes squeezed shut with tears leaking out.

CAPTION (FRANCESCA)

“I would never let myself be trapped like that.”

PANEL 4

Another street scene. Owen walks along, as if in a daze. He is approaching the entrance to Chronos Square. Regulators stand guard. People are filing in, handing over their tickets.

CAPTION (OWEN)

The carnival will be playing for the Watchmaker. By now they should already be set up.

CAPTION (OWEN)

Do I dare go? Am I brave enough.

CAPTION (OWEN)

Francesca …

PANEL 5

Small panel, close-up. Owen pulls the porkpie hat down low to hide his features, lowers his head.

CAPTION (OWEN)

But if the Anarchist tries to destroy it all—I have to stop him.

PANEL 6

Small panel. Owen hands over his ticket.

CAPTION (OWEN)

It really isn’t a choice after all.

PAGE 20

PANEL 1

Big lavish panel. Owen enters Chronos Square, where the carnival has set up, tents, booths, watchgear Ferris wheel. Crowds. Note for the design of the square, across from the Watchmaker’s tower is a big ornate governmental building, the Cathedral of the Timekeepers, across which a long banner has been strung, ALL IS FOR THE BEST (with the honeybee symbol). [This will be featured later, and important because Owen has to climb that building and use the ropes and banner to get away in next issue.] Floating coldfire globes illuminate the show.

PANEL 2

In the crowd, dashing Tomio is entertaining people, swishing his rapier as he throws one of his alchemical smoke bombs, which explodes in a puff of green smoke.

TOMIO

Presto!

CAPTION (OWEN)

Oh, I miss these people … even though I don’t belong with them anymore.

PANEL 3

Louisa the bearded lady is surrounded by laughing children who reach out to yank on her beard, and she is loving the attention. Owen self-consciously turns away, tugging his porkpie hat down.

CAPTION (OWEN)

Francesca must have told them everything.

CAPTION (OWEN)

Or maybe she’s forgotten about me already.

PANEL 4

Intimidating blue-uniformed Regulators march through the crowd. They look like windup soldiers.

REGULATOR

Citizens, be on the alert! Report any suspicious activity!

REGULATOR #2

The Anarchist has been seen in the city. Beware!

CAPTION (OWEN)

Nobody knows for sure what the Anarchist looks like … But I do.

PAGE 21

PANEL 1

A tightrope runs from the top of a high building (not the Cathedral of the Timekeepers) to a tall pole near the center of the square. Francesca is walking along the rope. Here in the background show the banner ALL IS FOR THE BEST

PANEL 2

Owen looks up, wistful and pained, at Francesca, but she doesn’t notice him in the crowd.

PANEL 3

Owen goes to the edge of the crowd, toward all the carnival wagons and Tomio’s trailer. This isn’t part of the carnival, just where they have set up their camp. It’s quiet and unoccupied because the show is going on.

CAPTION (OWEN)

The Anarchist will try to cause trouble … I know it.

PANEL 4

From behind Tomio’s trailer, Owen sees several kegs wedged under the trailer bed. These are explosives. One of them has the Precipitate symbol.

CAPTION (OWEN)

Those shouldn’t be there! Tomio would never …

CAPTION (OWEN)

Explosives!

PANEL 5

Owen hurries around the corner of the trailer to come upon the Anarchist crouching over the kegs and fiddling with a strange device, the detonator. See Hugh’s illustration on p. 159 of the novel. Owen shouts.

OWEN

Stop! I know who you are!

PAGE 22

PANEL 1

Owen raises his hands and shouts, sounding the alarm, while the surprised Anarchist recoils from his suspicious activity.

OWEN

Help! Somebody call the Regulators! It’s the Anarchist! THE ANARCHIST!

PANEL 2

The Anarchist looks up at him with a vicious grin.

ANARCHIST

Now that’s unexpected. Marvelous!

PANEL 3

He tosses the detonator to a surprised Owen.

ANARCHIST

Catch! Better hurry … before it detonates!

PANEL 4

Owen fumbles with the detonator as the Anarchist bolts away, making his escape.

OWEN

Help! It’s the Anarchist! Stop him!

CAPTION (OWEN)

The detonator … how do I stop it?

CAPTION (OWEN)

Break the spring … stop the gears. There…it’s safe now!

PANEL 5

Big panel. *Gulp!* Because of Owen’s shouts, the crowd is closing in. Regulators, carnival visitors … an instant mob in the making. The Anarchist is nowhere to be seen. The mob rushes toward Owen, pointing fingers. Regulators rush forward. Owen looks up, surprised at what he’s gotten himself into.

CROWD

The Anarchist! It’s the Anarchist! Get him!

END OF ISSUE 3

***

ISSUE 4

PAGE 1

PANEL 1

Full page with insets. A high shot, viewed from above: in Chronos Square with the carnival, the angry crowd presses closer to an astonished and helpless-looking Owen Hardy. He stands holding the detonator in his hand.

CAPTION

The mob moves like demons possessed.

CAPTION

Quick to judge

CAPTION

Quick to anger

CROWD MEMBER

It’s the Anarchist!

CROWD MEMBER 2

He’s got a detonator—watch out!

OWEN

No, not me. I’m not the Anarchist. I stopped him! I saved everyone.

INSET 1

Owen holds the broken detonator in his hands, watchface loose, springs popping out.

OWEN

I stopped the detonator. We’re safe now!

INSET 2

Snarling, angry faces in the crowd as they rush forward.

MAN

Get the Anarchist! Don’t let him slip away!

PAGE 2

PANEL 1

Uniformed regulators march forward, raising their nasty-looking coldfire-tipped nightsticks (which we introduced in issue 2)

REGULATOR

Halt! In the name of the Watchmaker!

PANEL 2

Owen drops the detonator and runs away from the crowd, racing toward the Cathedral of the Timekeepers, across which is strung the ALL IS FOR THE BEST banner, with honeybee symbol, which Nick so cleverly planted in the previous issue.

OWEN (MUTTERS)

Right now, all is NOT for the best!

PANEL 3

At the side of the ornate Cathedral building, Owen grabs a dangling rope and swings himself up, climbing the stone wall.

PANEL 4

He reaches the top of the banner, stepping on the fabric which makes the honeybee symbol wrinkle, stretching his arm up toward the top of the roof. A thrown rock clacks against the wall near him.

PANEL 5

Below, the faces in the crowd howl and shout. Some people are throwing stones. Regulators raise their glowing nightsticks.

CROWD MEMBER

Get him!

REGULATOR CAPTAIN

To the rooftop, men. Cut him off!

PANEL 6

From across the square in front of the Watchmaker’s tower, Francesca is standing on her own high tightrope in her leotard and cape. But no one is paying attention to her now. She gazes across the square where the crowd has surged toward Owen. She can see his tiny figure climbing to the top of the Cathedral roof.

FRANCESCA

Oh, Owen …

PANEL 7

The Anarchist, lounging against a wall, watches the commotion, looks toward Owen with an evil smile on his face.

ANARCHIST

Better pray to get away, Owen Hardy.

ANARCHIST

Is this what you were brought up to believe?

PAGE 3

PANEL 1

Owen swings himself up onto the roof of the Cathedral, gasping, sweating. He holds his hat on his head.

PANEL 2

Getting to his feet, Owen stares forlornly at the colorful lights of the carnival and the gleaming Watchmaker’s Tower on the other side of the square.

PANEL 3

A side door in the roof bursts open and a group of Regulators comes rushing out.

REGULATOR

There he is!

REGULATOR 2

Halt, Anarchist!

PANEL 4

Owen runs, slides down a sloping roof with tin shingles down toward a gutter.

PANEL 5

Balanced on the gutter at a corner of the roof, Owen looks at a thick black newsgraph cable (like a telephone wire) that connects the Cathedral roof with another roof outside the square. Down below, FAR below, in the streets, he can see armies of red-uniformed and blue-uniformed Regulators rushing toward Chronos Square.

PANEL 6

On the roof above and behind him, the pursuing Regulators appear, pointing at him. Owen is poised, at the edge.

REGULATOR

He’s trapped now, no place to go!

OWEN

*gulp*

PANEL 7

Close-up of Owen’s foot as he tentatively steps out on the cable.

PAGE 4

PANEL 1

Owen walks the cable like a tightrope, arms extended, shaky and terrified. (Nick, pick an angle that makes this look as terrifying as possible.)

PANEL 2

Owen sweating profusely, looking down. Perhaps choose an angle that allows us to see the horrible gulf beneath him.

OWEN

If only Francesca could see me … She makes this look so easy.

PANEL 3

Owen finally reaches the opposite rooftop and collapses on his hands and knees (as if he’s ready to kiss the solid footing). Behind him, on the far Cathedral rooftop, connected by the thin wire, the Regulators are waving and shouting.

PANEL 4

Small panel, he dashes to a rooftop door, his back to us, running away.

PANEL 5

Owen emerges from a doorway onto the street, pulling his porkpie hat down on his head to disguise himself.

OWEN

Safe … if I can just get away from the Square.

PANEL 6

Big panel. Owen walks off into the big nighttime city, as crowds stream in the other direction, including uniformed regulators

OWEN

… and Crown City.

PAGE 5

PANEL 1

Owen reaches the docks at the port of the Winding Pinion River (which we saw in the previous issue). It’s nighttime now, though, and the ships, docks, equipment are lit with eerie coldfire. Behind him, we see buildings of the city, tall clocktowers, and SFX letters around some of them indicate that all the alarm bells are ringing.

SFX

Bong! Bong! Bong!

OWEN

All those alarm bells … but the dock workers won’t know what it’s all about.

PANEL 2

A big steamer at the dock, sailors working at the gangplank, one man pulling a big hawser from a stanchion. Blue-tinged steam is curling out of the smokestack. Owen sees it.

SAILOR

Ready to shove off!

SAILOR 2

Off to the open sea, Atlantis, and Poseidon City!

OWEN

… anywhere but here!

PANEL 3

Owen runs up to the gangplank, bounding toward the steamer. The sailors are startled. One man on the dock turns to yell up to the deck.

OWEN

Wait! I need to get aboard! Wait!

SAILOR

One more to come aboard, Captain Lochs!

PANEL 4

Gasping, Owen reaches the deck where he faces Captain Lochs, a kindly looking older man, possibly with a big mustache or muttonchop whiskers. (Nick, this is a recurring character, so we may want to see a character design ahead of time.)

CAPTAIN LOCHS

And what have we here?

OWEN

I’ve come from Chronos Square and the Clockwork Angels …

OWEN

I’m supposed to be here.

PANEL 5

Big panel, the steamer sails off down the widening river, away from Crown City. (Think of London and the Thames.)

CAPTAIN LOCHS (CONT’D FROM PREVIOUS)

Then all is for the best.

PAGE 6

PANEL 1

The steamer churns along on the high seas, choppy waves. Curls of blue-tinged steam curl up out of the fanciful smokestacks.

CAPTION (OWEN)

Adventure on the high seas …

CAPTION (OWEN)

I’ve dreamed about this ever since I was a boy …

PANEL 2

Sailors are working on the deck, looking cheery

CAPTION (OWEN)

Back in Barrel Arbor, I would read my mother’s books about far-off lands unknown. Atlantis! Poseidon City, far across the sea.

PANEL 3

Owen, utterly miserable, hunched over a bucket, obviously puking.

CAPTION (OWEN)

I never thought it would be so miserable …

PANEL 4

Owen on deck, shaky, near the rail. He looks up as Captain Lochs comes down the outside stairs from the bridge deck. The captain is grinning.

OWEN

I’d like to help, Captain, sir. For my passage. I can do chores.

CAPTAIN LOCHS

But you’re on a mission for the Watchmaker, Mr. Hardy. I have a full crew—not to worry.

PANEL 5

Owen rushes to the rail, bends over, vomiting overboard into the sea. The captain is amused but seems to commiserate.

CAPTAIN LOCHS

Though maybe the Watchmaker should have chosen someone less inclined to seasickness, eh?

PAGE 7

PANEL 1

Large panel. On the steamer’s bridge deck, which should have all sorts of cool steampunky gears and valves and pistons, as well as an ornate captain’s wheel—we will spend more time here in issue 5 before the Wreckers appear, so it’s worth putting some thought into the design. Captain Lochs stands at the wheel. Owen stands, bracing his hand against a bulkhead. Two other sailors (probably first mate and a mid-rank officer) sit at a table playing chess, looking up at Owen.

CAPTION (OWEN)

Five days … Five … long … days

CAPTION (OWEN)

The sea never stops swaying, rising, falling, lurching …

CAPTION )OWEN)

Captain Lochs calls it “smooth sailing.”

FIRST MATE

You’ll get your sea legs soon enough, Owen Hardy.

PANEL 2

The captain at the wheel looks at Owen who has come to stand by him, looking out at the endless open sea.

CAPTAIN LOCHS

I’ve been on this steamer run from Albion to Atlantis for years. Bringing coldfire and gold to the port of Poseidon City, bringing cargo loads of rare alchemical substances back for the Watchmaker.

CAPTAIN LOCHS

Always the same, always different. Like life. It’s a great adventure … but it doesn’t always seem that way.

PANEL 3

Owen close-up, pondering.

OWEN

Back in my little town, I couldn’t stop thinking big. I dreamed about Crown City, the Watchmaker, the Clockwork Angels … I prayed to see it all.

PANEL 4

Large montage of images from previous panels: Barrel Arbor, Lavinia, the carnival, the detonator, the Anarchist, Francesca, all surrounding the image of Owen smiling, tossing the apple in the air. (Concept drawing, and from cover of special web edition.)

CAPTION (OWEN)

Sometimes the Angels punish us by answering our prayers …

CAPTION (OWEN)

Maybe Atlantis and Poseidon City will be different.

PAGE 8

PANEL 1

Owen and Captain Lochs looking out the front bridge window of the steamer, where we can see the distant coast of Atlantis and a big city rising from the port.

CAPTAIN LOCHS

Oh, Poseidon City will be different, all right!

PANEL 2

Big panel: the steamer pulls into the port of Poseidon City. Poseidon is on a completely different continent and should have a very different feel than either Barrel Arbor or Crown City. I’m thinking the difference between New York and Shanghai. Poseidon should have a different cultural basis, feel crowded, dingy, ramshackle. This is your chance to be gritty, Nick.

CAPTION (OWEN)

I’ve read about the wonders of this city. A magical, exotic place where distant alchemy mines produce the elements the Watchmaker needs.

PANEL 3

Poseidon City workers grab ropes, tie the steamer up to the docks. These are surly-looking men with different clothes from what we saw in Albion. We don’t want the people to have a particular ethnicity (these are not admirable folks). This is a port city with a melting pot of races. Owen and Captain Lochs are standing on deck, looking down at all the activity.

OWEN

It’ll be good to have my feet on dry land again, Captain. Thanks for all your kindness.

PANEL 4

With a concerned, heartfelt look on his face, the Captain hands Owen some coins.

CAPTAIN LOCHS

Consider these coins a gift. Take care of yourself, Owen Hardy. Poseidon is a rough-and-tumble town. Be cautious.

PANEL 5

Owen walks down the gangplank onto the dock, with the looming, mysterious Poseidon City ahead of him. Some of the dockworkers give him a dark look, but Owen is happy, full of optimism.

OWEN

I’ll be fine. Atlantis is a land of legends! I can’t wait to see it. And it’s got to be better than spending days at sea!

CAPTION (OWEN)

In fact, Poseidon City was far worse than anything I had imagined …

PAGE 9

PANEL 1

The Anarchist section: open with graphic element (I suggest we use the “Precipitate” alchemy symbol here, the one tattooed on the Anarchist’s hand.) Panels will be dark bordered, not necessarily perfect rectangles to add chaos and disarray.

Big opening panel. The Anarchist in his usual outfit walks down a Crown City street heading toward the impressive Alchemy College. The big building looms there, filling much of the view. See Hugh’s painting on p. 179 of the novel for the building, but choose a different view; Nick, you will be redoing much of the p. 179 painting on page 12 of this issue. The Anarchist carries a briefcase.

CAPTION (ANARCHIST)

The Watchmaker’s Alchemy College. Good times.

CAPTION (ANARCHIST)

Bad times.

PANEL 2

Small inset panel showing the Anarchist’s burned, scarred hand clutching the handle of the valise.

CAPTION (ANARCHIST)

They left a permanent mark.

PANEL 3

With the College in view, the Anarchist crouches in another dark alley, the briefcase open on the ground, as he pulls out his new disguise, a white alchemist-priest’s robe.

CAPTION (ALCHEMIST)

Scrambling all the clocks in Crown City caused great turmoil, but not nearly enough. To have the right effect, I have to think bigger …

PANEL 4

The Anarchist emerges from the alley dressed as an impressive, officious-looking alchemist-priest.

CAPTION (ANARCHIST)

The bomb at the coldfire nexus in Chronos Square failed. My would-be protégé Owen Hardy was unpredictable.

I can respect unpredictability.

PANEL 5

The Anarchist walks through the big stone gates of the Alchemy College while a red-guard Regulator stands there at attention, acknowledging him.

CAPTION (ANARCHIST)

That’s the nature of chaos. Oh well.

REGULATOR GUARD

Welcome, Philosopher-Professor. Do you need a class schedule?

ANARCHIST

Schedules have not changed in more than a century, Captain. I have my work well in hand. All is for the best.

PAGE 10

PANEL 1

The disguised Anarchist walks through the looming, empty halls of the Alchemy College. There are numerous clocks on the walls (with alchemy symbols instead of numbers on the clock faces); the classroom doors are closed. The closed doors have large alchemy symbols on them.

CAPTION (ANARCHIST)

I want to create a new world order, an Instability as a cure to the Watchmaker’s paralyzing Stability.

Only turmoil can strengthen human hearts and minds, cure them of deadly apathy.

PANEL 2

The Anarchist stops at a big vault door sealed with gears, pistons, locking mechanisms. Another red-uniformed Regulator stands there like a guard at Buckingham Palace. The vault door has the honeybee symbol emblazoned in the middle. The Anarchist extends a document.

CAPTION (ANARCHIST)

Complete and total freedom! Even if the sheep don’t know what to do with it.

ANARCHIST

I have orders from the Watchmaker. He suspects certain irregularities in alchemical supplies shipped from the Atlantis mines.

I must have access to the alchemy storage vault—and complete privacy.

GUARD

Yes, Philosopher-Professor! As the Watchmaker commands.

CAPTION (ANARCHIST)

Well and truly blessed, indeed …

PANEL 3

Small panel, close-up, focusing on the guard’s hands. The guard works a complex locking mechanism that glows blue with coldfire in the circuits.

SFX

Snikkk whrrrrrrrrrrrr

GUARD

There you are, sir.

PANEL 4

The Anarchist is smiling as the guard opens the looming vault doors (which cuts the honeybee symbol in half)

ANARCHIST

Thank you. That will be all. Go guard some other door …

CAPTION (ANARCHIST)

But bringing down civilization is difficult work.

PANEL 5

Big panel: the Anarchist stands in the vault, and it’s like Ali Baba in the treasure vault of the 40 thieves. Shelves everywhere, sacks of powders, sealed kegs, jugs, bottles, vials. All lit by floating coldfire globes.

CAPTION (ANARCHIST)

I wish I had an apprentice … but Owen Hardy is gone now, across the sea. I have to trust that harsh experience will shape him into an ally.

I have faith in entropy.

ANARCHIST

Ah … it’s been a long time.

PAGE 11

PANEL 1

The Anarchist grabs supplies from the shelves, loading his arms with packages, bottles, jars of chemicals.

CAPTION (ANARCHIST)

The smell of the chemicals, the ingredients of the universe

Elemental salts … mixed acids

Chemical symbols of my rage.

PANEL 2

In the center of the vault is a big table, surrounded by alchemical symbols—like an altar. The Anarchist begins stacking his chemicals there, dumping them out in a big mess.

CAPTION (ANARCHIST)

Humors of green sulfur

Powdered dreamstone

Distillate of red coal

—Pools of poison, to create … magic!

PANEL 3

Small panel. Close-up of the Anarchist’s eyes. They look very black (as if he sees the world through lenses painted black).

CAPTION (ANARCHIST)

As I learned so well, back when I was the Watchmaker’s devoted student, sometimes experiments go wrong …

PANEL 4

Small panel. The Anarchist’s hands (one scarred, the other with the Precipitate tattoo) install one of the ticking composite-timepiece detonators on the pile of chemicals, like the one Owen deactivated at the end of issue 3.

CAPTION (ANARCHIST)

And sometimes they go wrong on purpose.

PANEL 5

Big panel. The Anarchist stands back in his robes as scarlet smoke (has to be scarlet!) rises up from the piled chemicals. The position of his figure, plus the robes should look *just like* the figure of the Necromancer on the cover of the Caress of Steel album.

CAPTION (ANARCHIST)

Eight minutes … very precise.

PANEL 6

The Anarchist hurries out of the vault.

PAGE 12

Four small panels across the top, big panel for most of the page below.

PANEL 1

Ornate clock on the wall (like the one from the Caravan CD-single cover).

PANEL 2

Close-up of chemicals, detonator ticking, smoke swirling.

CAPTION

Action.

Reaction.

PANEL 3

The Anarchist hurries out the door of the College building.

PANEL 4

Chemicals again, more smoke, black liquid bubbling around the detonator.

CAPTION

Random interaction …

PANEL 5

Big panel, most of page. The Anarchist walks away from the Alchemy College as it EXPLODES behind him (very similar to Hugh’s painting on p. 179).

CAPTION (ANARCHIST)

In order to change the world, you have to make an impression.

CAPTION (ANARCHIST)

Oh, they’ll never forget me!

PAGE 13

PANEL 1

Nick, we will want to develop a great look and feel for the “character” of Poseidon City. Should be seedy, warped, Tim Burton-esque … exotic and foreign, but not all that wonderful.

Owen walks through the city with the dark and twisted buildings all around … He hasn’t quite figured out that this is Harlem instead of Oz. The skies are gray. There are people around, but no smiling faces.

CAPTION (OWEN)

In my mother’s books about far-off lands, I read about Poseidon City. I wonder if the author ever actually visited here.

CAPTION (OWEN)

This isn’t quite how I imagined the city would be …

PANEL 2

Three scruffy-looking men come up to him, smiling with predatory friendliness.

LEADER

Well, now, what do we have here? A stranger?

OWEN

Yes, I’m visiting Atlantis. I’ve come from Albion.

MAN IN GROUP

Fresh off the boat then, are you?

PANEL 3

Owen smiles, oblivious, as they make a show of patting him on the shoulders and back in false friendliness. Owen thinks they’re welcoming him.

LEADER

Welcome to Poseidon City, young man. We’re very friendly to newcomers here.

PANEL 4

The men walk away down the street while Owen stands there in front of a shop building with open shuttered windows above. He looks after them.

OWEN

An odd welcome, I suppose … but nice enough.

PANEL 5

With a look of dismay, Owen pulls out his pockets only to find them empty.

OWEN

My money! I’ve been robbed!

PANEL 6

From the window above, a woman dumps out a chamberpot, and the flow barely misses Owen as he jumps out of the way.

SFX

splussshhhhhh

PAGE 14

PANEL 1

A forlorn Owen sits on a wooden crate outside the door of a tavern, elbows on knees, head in his hands.

OWEN

Now what am I going to do?

PANEL 2

The tavern owner bursts out of the front door armed with a broom, chases Owen away.

TAVERN OWNER

No loitering!

PANEL 3

Owen stands in front of an inn, looking hopeful, holding his porkpie hat in his hand. A rail-thin, sour-faced innkeeper in an apron stands at the door, skeptical.

OWEN

Excuse me, sir, but I could really use a helping hand. I’m a hard worker and I’d be happy to do chores. Would you have any food you can spare?

INNKEEPER

Free food? If that’s what you’re after, go around back. We keep a banquet ready for people like you.

PANEL 4

Behind the inn in a dark, claustrophobic alley, Owen looks in dismay at a garbage pile, discarded food, rotting fruit and vegetables. A couple of rats.

CAPTION (OWEN)

I was brought up to believe in our loving Watchmaker …

PANEL 5

Small panel. Owen fishes a rotten, half-eaten apple out of the pile.

CAPTION (OWEN)

I was taught that we get what we deserve …

PANEL 6

Nighttime, Owen finds a dank, dark corner of the alley to curl up in, holding the spoiled apple as his only food.

CAPTION (OWEN)

What did I do to deserve this?

PAGE 15

PANEL 1

Establishing shot of a sunrise over Poseidon City. It looks like a giant picked up armloads of buildings and just dumped them in a pile.

CAPTION (OWEN)

When you have nothing to do, the days and nights tend to blur. I’ve lost count.

PANEL 2

Looking more disheveled than before, Owen stands at a streetcorner, leaning against a wall, nowhere to go.

PANEL 3

Owen places his hat on the ground for donations, stands there juggling stones, the tip of his tongue between his lips as he concentrates. Passers-by sneer at him, though. A group of young toughs is in the background sneering and shouting.

CAPTION (OWEN)

Even optimism fades after a while. I wish these people would give me a chance.

SNEERING MAN

Get a job!

SNEERING WOMAN

Parasite!

PANEL 4

Owen runs, looking panicked, as a gang of toughs chases after him

CAPTION (OWEN)

They seem more like predators than neighbors.

PANEL 5

Running, Owen ducks down a twisted alley, a sunken doorway, where a set of steps leads to a door marked UNDERWORLD BOOKS.

PANEL 6

Owen looks at the displays of books in the dirty, smeared window. One is prominent, ALBION, ATLANTIS, AND BEYOND. Maybe he has his hands pressed against the window.

CAPTION (OWEN)

I think Poseidon is a city without friends.

PAGE 16

PANEL 1

Owen bursts through the door (side of panel); main panel is Commodore Pangloss at the front desk holding a bundle of books wrapped in brown paper and string. Mrs. Courier has just handed it to him, and she smiles. [See the novel for full descriptions of the characters.] On the table is a plate of grapes and cheese.

MRS. COURIER

There you go, Commodore. Happy travels and happy reading.

COMMODORE

Always a good tale, Mrs. Courier.

PANEL 2

Small panel. Owen is grinning, points to the book in the window.

OWEN

That book in the window … my mother had that book. Back in Barrel Arbor. In Albion.

But this one is different. The world looks different …

PANEL 3

Big panel showing the Underworld Books, a warm, cozy place with shelves filled with amazing tomes. Mrs. Courier and Commodore Pangloss there. If possible, include the tall moonstone mirror beside the front table (like an old-fashioned dressing-room mirror, but the mirror itself is an opalesque stone surface … a mysterious dimensional doorway, but we won’t talk about it.)

MRS. COURIER

We sell all different editions here from all the many possible worlds. Endless variety! Commodore Pangloss here is our best customer.

COMMODORE

I read them aboard my airship during those long journeys to the alchemy mines …

PANEL 4

With a kindly expression, Mrs. Courier slides the plate of grapes and cheese close to him, as Owen looks intensely grateful.

MRS. COURIER

We all need to nourish our minds … but you look as if you need a meal more than you need a book, young man.

PANEL 5

Outside in the streets again, dusk. Owen looks across the street to a baker’s shop, where a hard-looking baker is sweeping out in front of his shop. The baker wears a surly expression. Owen waves and calls out to him.

CAPTION (OWEN)

In Poseidon City, kindness is as rare as a precious gem. In the following days, I went back to look for Underworld Books again, but I could never find it.

CAPTION (OWEN)

I didn’t find kindness elsewhere, either.

OWEN

I could help you do the sweeping, sir. I don’t mind chores.

PANEL 6

Small panel, close-up of the delicious-looking pies and pastries in the window of the bakery. The baker looks surprised and skeptical.

BAKER

Suit yourself. If someone else wants to do the work, who am I to turn it down?

PAGE 17

PANEL 1

Owen is inside the bakery now, wiping sweat from his forehead, leaning on the broom, done sweeping. The baker is stiff and formal, as if he doesn’t know how to smile.

OWEN

There, sir. Done sweeping. Did I do a good job?

BAKER

Good enough. Now off with you—don’t bother me any more.

PANEL 2

Owen is surprised and disappointed. The baker laughs.

OWEN

But … but … I did all that work!

BAKER

I never promised you anything in return, but you were fool enough to do it anyway. Now go!

PANEL 3

Small panel, close-up of Owen’s face, angry and offended. He has finally had ENOUGH.

PANEL 4

Owen snatches one of the pies and dashes off into the streets, a look of panic on his face. Behind him, in the door of the bakery, the baker yells after him.

BAKER

Stop! Thief!

PANEL 5

Finding a dark alley, Owen crouches in the shadows and wolfs down the pie.

OWEN

What is wrong with the people here? I just don’t understand them.

PANEL 6

Standing at the mouth of the alley, GUERRERO is there watching Owen, arms crossed over his chest. He is a street kid about Owen’s age, thin, feral. See novel for full description. Owen is startled.

GUERRERO

I see you’ve learned to steal—that’s an important part of survival in Poseidon City.

OWEN

Wha—? Who are you?

PANEL 7

Guerrero squats next to Owen, takes a piece of the pie.

GUERRERO

I’m Guerrero. Been watching you for a while, and I’m surprised you’re still alive! I could use a friend—stick with me and I’ll teach you what you need to know.

(CONTINUED)

As long as you give me a piece of that pie.

PAGE 18

PANEL 1

Nighttime streets with a full moon overhead. The two young men go running along the streets, away from us. They look happy-go-lucky, part of a great adventure.

CAPTION (OWEN)

Over the next weeks and months, I did what I needed to do, and I survived. We slept during the day, and then we had all night …

PANEL 2

In the dark behind a tavern, the two work over a sleeping drunk in an alley, picking his pockets.

CAPTION (OWEN)

I don’t know if Guerrero was looking for a friend or a partner in crime, if he was lonely … or if he wanted something from me.

GUERRERO

Check all his pockets! He’s so drunk he won’t even notice until he wakes up in the morning.

SFX (DRUNK)

Zzzzzzzzzzzz

PANEL 3

The two have broken into an unoccupied home. Guerrero is on the ground beneath a window of the house, holding a sack of loot. He gestures frantically to Owen, who is clumsily climbing out the window.

CAPTION (OWEN)

But he kept me alive in Poseidon City. I learned to fight and I learned to steal.

PANEL 4

The two sitting in a darkened stoop, sharing money they have stolen, laughing. Owen looks harder, more rough around the edges, not such a rube. He is happy at least.

PANEL 5

The two crouching outside another tavern. A big hanging sign out front says THE FLYING OWL, with a drawing of an owl just like the one on the cover of Fly by Night. A big, shaggy man staggers out of the tavern, CABEZA DE VACA, wearing a heavy coat. See novel for full description. Guerrero talks to Owen in a hushed whisper.

GUERRERO

I know him—that’s Cabeza de Vaca … an explorer, and a crazy man! Keeps wandering the Red Rock Desert in search of lost cities. Comes back whenever he needs to get drunk.

(CONTINUED)

He usually has a pouch of gold coins … unless he spent it all in the tavern.

PANEL 6

Guerrero nudges Owen, who rises to his feet and starts after the man as he wobbles and staggers away from the Flying Owl.

GUERRERO

This one’s all yours, Owen. He usually keeps the gold in his left pocket.

CABEZA DE VACA (SINGING/MUSICAL NOTES)

Ooohh, Seven Cities of Gold …

PAGE 19

PANEL 1

While Guerrero watches, encouraging, Owen slips up to the shambling Cabeza de Vaca, dips his hand into the man’s coat pocket.

CABEZA DE VACA

Seven Cities … urrrk?!

PANEL 2

Small panel, Cabeza de Vaca grabs Owen’s wrist like a vise; the man’s eyes flare in anger.

CABEZA DE VACA

Got you! THIEF!

PANEL 3

Owen thrashes, trying to get away, but Cabeza de Vaca won’t release him. Several other men, Cabeza’s buddies, come running out of the tavern, shouting.

OWEN

Let me go!

CABEZA’S BUDDY

We’re coming, Cabeza!

BUDDY #2

Get the filthy little pickpocket.

PANEL 4

Guerrero takes one look at the men and bolts without a glance back. Owen struggles and calls after him.

OWEN

Guerrero! Help!

PANEL 5

While Cabeza de Vaca glowers (still weaving and drunk), his buddies punch and pummel and kick Owen.

BUDDY

You get what you deserve, thief!

BUDDY #2

Teach you a lesson with bruises and broken bones.

PANEL 6

Small panel, Owen cowering, curled up, hands over his head, eyes squeezed shut. (Can combine with previous panel if it works.)

OWEN

Stop … please stop!

PANEL 7

Big panel, Commodore Pangloss stands there, stocky and intimidating. He holds a thick walking stick.

COMMODORE

I think that’s enough for now. Leave the lad alone …

(CONTINUED)

Or there’ll be a lot more pummeling before the night is done.

PAGE 20

PANEL 1

Commodore Pangloss drapes one of Owen’s arms over his broad shoulder and drags/walks Owen away from the Flying Owl tavern.

COMMODORE

I have no great fondness for thieves, young man. I don’t know why I intervened … maybe because I know of your fondness for books.

COMMODORE

Now you’ll have a chance to convince me I haven’t made a mistake.

PANEL 2

Daylight. Owen wakes up in a bed in an inn room. He has bandages on his forehead, a swollen eye. Beside him, Commodore Pangloss sits in a chair, reading a book.

OWEN

Oohhhh, you saved me. I’m not a hardened criminal, really.

COMMODORE

Not yet, perhaps, but a city like Poseidon will ruin you soon enough.

(CONTINUED)

I’ve had your clothes laundered. Get cleaned up, and then I’ll hear what you have to say for yourself.

PANEL 3

Close-up: The Commodore sets his book down on the bedside table. (All we see is the book and his hand.) The title of the book is GOING WHERE I WANT, INSTEAD OF WHERE I SHOULD by Hanneke Lakota. The Commodore’s words come from out of the panel (we don’t see him in the frame).

COMMODORE

I always like a good story.

PANEL 4

Owen gets dressed, straightening his clothes, tugging on his sleeves. He talks while the Commodore listens.

CAPTION (OWEN)

So, I told Commodore Pangloss everything—Barrel Arbor and Crown City, the carnival, the Clockwork Angels … Francesca … the Anarchist. My escape across the sea on the steamer. My tribulations here in Poseidon City.

CAPTION (OWEN)

What did I have to lose? I was far from Albion, and I doubted I would ever go back.

PANEL 5

Pangloss puts on his Commodore’s cap, which looks like something a navy officer would wear. He heads out the door of the inn room, with Owen following.

COMMODORE

Come along, Mr. Hardy.

(CONTINUED)

I’m a steamliner captain, an airship traveling to and from the alchemy mines in the distant mountains of Atlantis.

PANEL 6

Big panel, outside, the Commodore and Owen stand in front of his battered but still glorious steamliner. See novel for full description of the airship.

OWEN

It’s … beautiful!

COMMODORE

She’s just a cargo steamliner, mind you. Not one of those bloated, fancy caravans that your Watchmaker uses in Albion.

(CONTINUED)

But she’s MY ship, and I’ve never wanted anything else.

PAGE 21

PANEL 1

The two walk along the airship, showing more of the big cargo chambers, the inflatable sacks.

COMMODORE

On my regular run, I haul shipments of redfire opals, chalcedony, dreamstone, reactive ferrocerium … all the valuable alchemical elements. I bring the mining towns the supplies they need.

PANEL 2

At the locomotive portion of the steamliner, Commodore Pangloss swings himself up, climbing aboard.

COMMODORE

I could use an assistant to help stoke the fires and guide the steamliner. Are you interested, Mr. Hardy?

OWEN

It sounds like a great adventure!

PANEL 3

The two are inside the engine chamber, a big furnace connected to a boiler that bristles with pistons and gears.

COMMODORE

These are the engines, and they need to be fed. You’ll have to shovel enough red coal to keep the fires burning so we can stay aloft. But most of the time, we’ll be up in the main cabin.

PANEL 4

Inside the main cabin, a well-appointed, clean room with bookshelves, fine wooden fittings, cabinets. I picture something like Captain Nemo’s cabin on the Nautilus.

COMMODORE

This is my home on the long, lonely journeys. I could use someone to talk to—especially someone who likes to read. As you can see, I have a well-stocked library … the best volumes from various timelines.

OWEN

I look forward to it, sir!

COMMODORE

Good. Then we depart at sunset, as soon as the cargo is loaded.

PANEL 5

Outside, Poseidon City workers—like the rough and tumble people from the docks at the beginning of the issue—lift crates and sacks, loading the steamliner’s cargo bay while Owen and the Commodore watch.

COMMODORE

It’s a full manifest: clothing, food, medicine, tools, even some luxuries … though the miners aren’t much for fancy baubles.

PANEL 6

Small panel: the Commodore clicks his pocketwatch shut.

COMMODORE

It’s about time to go. I take it you’re ready to leave Poseidon City?

PAGE 22

PANEL 1

Sweating, Owen shovels red coal into the open mouth of the blazing engine furnace. Commodore Pangloss watches approvingly.

OWEN

I can’t be away from here soon enough!

COMMODORE

Stoke the fires, Mr. Hardy, and then come join me on the pilot deck.

PANEL 2

Small panel: the steel locomotive wheels glow blue, with curls of steam tangled around them.

PANEL 3

On the pilot deck, there are silhouetted mountains in the distance on the horizon, all surrounded by a blazing orange of sunset. The Commodore works the controls, while Owen steps up behind him.

COMMODORE

We’re moving now, picking up speed. Soon, we’ll leave the rails. Have you ever been on a steamliner before, Mr. Hardy?

OWEN

Not like this … never like this.

PANEL 4

Big panel, most of page. The beautiful steamliner soars up into the sky, leaving Poseidon City behind and heading toward the mountains. This is reminiscent (though not precisely the same) as the Hugh Syme spread on pp 208-209 in the novel).

COMMODORE (OUT OF PANEL)

Then hold on! We’ll fly by night … right across the stars.

END OF ISSUE 4

***

ISSUE 5

PAGE 1

PANEL 1

Big establishing shot, daylight, the colorful airship of Commodore Pangloss soars over a rugged, pristine landscape of mountains and trees.

CAPTION (OWEN)

In my time aboard the airship with Commodore Pangloss, I healed my bruises, and I healed my heart.

CAPTION (OWEN)

Someday, maybe I’ll think of my tribulations as “adventures.”

PANEL 2

Inside the control deck of the airship, the Commodore stands proud and commanding, as he and Owen both stare out the front windows.

CAPTION (OWEN)

Too often, though, I thought about the carnival, the Anarchist, the Clockwork Angels.

CAPTION (OWEN)

And Francesca.

COMMODORE PANGLOSS

We’ll arrive at the next mining town tomorrow. Hold our course steady, Mr. Hardy. Check the dreamline compass.

PANEL 3

Owen is bent over the controls, checking a complex gadget that looks like a fused pocketwatch and compass, with crystals.

CAPTION (OWEN)

But I locked those memories away and concentrated on my exciting new life.

CAPTION (OWEN)

Mostly.

OWEN

On course and on schedule, Commodore. Even the Watchmaker couldn’t do better.

PANEL 4

Another angle of the airship, closing in on the mountains.

COMMODORE (FROM SHIP)

The miners count on us to bring supplies, and Poseidon City counts on us to deliver alchemical elements.

COMMODORE (FROM SHIP)

That’s enough reason to keep a schedule, Mr. Hardy. We don’t do it for your Watchmaker.

OWEN (FROM SHIP, SMALL VOICE)

Well, he’s not my Watchmaker …

PAGE 2

PANEL 1

Owen inside the airship’s cozy library, which is like a gentleman’s sitting room, with books of all sizes lining the shelves. He looks at the shelves. The airship library has a large window, through which we can see the open sky, clouds, late afternoon sunlight.

CAPTION (OWEN)

The Commodore was a solitary man, but not lonely. He spent his time in the company of books, many titles from many different universes.

PANEL 2

Owen’s hand reaches up to pull a volume out of the shelves.

CAPTION (OWEN)

Books about lost cities of gold, starships to black holes, necromancers … and simple memoirs of everyday heroes.

PANEL 3

Owen holds a book, looks in astonishment at the cover, which says GOING WHERE I WANT, INSTEAD OF WHERE I SHOULD. The author is HANNEKE LAKOTA

OWEN

By Hanneke Lakota? Wait—that’s my mother’s maiden name! She … she dreamed of traveling the world, but she never left Barrel Arbor.

PANEL 4

Commodore Pangloss stands by the door of the library, amused.

COMMODORE

Ah yes, that’s quite a story. In this one of many possible worlds, your mother stayed home. But in other worlds, Hanneke Lakota was quite an adventurer.

COMMODORE

In this world, Mr. Hardy, you turned out to be the adventurer.

PANEL 5

Owen sits in the chair, poring over the book, reading it from cover to cover. Outside the window it’s now twilight and Owen has a coldfire reading light next to him, to show that he’s been there quite a while.

PANEL 6

External shot, daybreak, the airship travels toward a mining village, houses and buildings built into a stairstepped quarry-cliff. Rails lead out from mine shafts; people bustle around. Smoke curls up from smelters.

A set of tracks runs *toward us* to the edge of the cliff, where it just stops at the brink: this is like a landing strip, and the airship will touch down there.

CAPTION

Next morning …

COMMODORE (FROM SHIP)

We are arriving at the town of Endoline, Mr. Hardy. We’ll stay the day, take on a load of cargo, then head back to Poseidon City for another run.

PAGE 3

PANEL 1

The airship moored in the rugged mining town. It has touched down on the rails, and gritty-looking workers are unloading crates of supplies from one of the airship’s holds. Owen and Pangloss stand together, watching the work.

COMMODORE

Careful with those fresh supplies. This is my last visit here for a month.

(mutters)

I don’t know why anyone would live out on the brink of the civilized world …

OWEN

I’ll bet there’s more beyond Endoline. The Redrock Desert … and the Seven Cities of Gold!

PANEL 2

Some of the gritty miners chuckle as they carry crates. Pangloss pats Owen on the shoulder. Owen looks shame-faced.

MINER

*Groan* Not another dreamer looking for the Seven Cities!

MINER 2

Ha! If I had an amethyst for every crazy story like that, I wouldn’t need to work in the mines!

COMMODORE

Come on, Mr. Hardy. We have to settle our paperwork and find our dinner. Venison with gravy is the only treasure I’m hunting. I know an inn …

PANEL 3

Wide shot of the mining city; Endoline should have an interesting unusual design (which Nick is so good at), buildings structured on quarried ledges of the cliffs, connected by steep zig-zag roads. The industrial area has shafts, mine openings, scaffolds, like an Old West mining complex. A rickety water wheel connected to a waterfall and stream that runs down the cliffside. There are mine carts, workers. Owen and the Commodore walk down one of the rock-strewn streets.

COMMODORE

Endoline is the best source for redfire opals in Atlantis, but they also produce fine alchemical powders that are sent back to Albion. Very high profit.

OWEN

What does the Watchmaker use all that for?

COMMODORE

Who knows what the Watchmaker does?

PANEL 4

Inside a warmly lit tavern main room, Owen and the Commodore sit at a stone table. They are drinking from goblets of a local drink. Plates of food are in front of them.

The walls are stone, carved into the side of the mountain, like a cave. The fireplace is filled with blazing red gems. Similar red gems are set in alcoves of the wall, like torches. This looks very different from the Tick Tock Tavern in Issue 1. Small groups of miners are seated at other tables; one group sings boisterously.

COMMODORE

Careful with that drink, lad. It’s a local brew and very strong. You’re not used to it.

GROUP OF MINERS

Ooohh … ooohhh, seven cities of gold!

PANEL 5

A rangy hunter dressed in animal skins and high boots lounges in a chair by the crystal fire. An unstrung bow is propped against the wall beside him.

HUNTER

Got a glimpse of the Seven Cities myself on my last hunt … far out in the desert.

HUNTER

I’ve seen things out there, amazing things. A tall mesa, at the edge of the lake between the sun and the moon …

PANEL 6

Owen perks up, still holding his goblet, and looks over at the hunter, who is about ten feet away by the fireplace.

OWEN

You’ve seen the Seven Cities? *Hic* Could you find them again?

HUNTER

Many have tried, young man. But the Redrock Desert gets them all …

PANEL 7

Pangloss rolls his eyes and nudges Owen’s shoulder; Owen slumps down to the table, obviously inebriated.

OWEN

I wanna go there …

COMMODORE

You better just rest, Mr. Hardy. That’s enough delusions, and enough liquor, for one night.

PAGE 4

PANEL 1

Big panoramic panel, the airship flying along, heading toward another village, this time a group of houses around a sapphire-like lake. Outside the village a pair of glowing blue rails extends, like a landing strip.

CAPTION (OWEN)

Mining village after mining village, out to the farthest spur … and then back to Poseidon City. The towns were all interesting and all unique … but all the same.

CAPTION (OWEN)

It reminded me of the villages across Albion we visited in Cesar Magnusson’s carnival …

CAPTION (OWEN)

And that reminded me of Francesca …

PANEL 2

In the village, miners and workers stand around picking over the crates and supplies the airship has just delivered. It’s like a bazaar. Some are fighting over clothes, packages. Others look like it’s Christmas. Owen stands taking notes on a clipboard while the Commodore watches closely.

COMMODORE PANGLOSS

Next stop, Opal Flats, Mr. Hardy. Just as soon as we unload and load up again.

OWEN

Is Opal Flats a nice place?

COMMODORE

Nice enough, a little rough around the edges … about the same as all the others.

PANEL 3

The airship flies off again, this time across a starry night sky.

CAPTION (OWEN)

Instead of thinking of my broken heart, I read the book of my other mother’s adventures.

CAPTION (OWEN)

All the places she visited, all the things she saw.

PANEL 4

On the pilot deck, Owen and the Commodore stand together, silhouetted against the night sky through the broad window. Below are tiny lights of villages.

CAPTION (OWEN)

Including the Seven Cities of Gold. The stories fired my imagination … like a sliver in my skin that I couldn’t pluck out.

COMMODORE PANGLOSS

What are you thinking about, Mr. Hardy?

OWEN

Not thinking, sir. I’m dreaming.

PAGE 5

PANEL 1

The airship touches down, its steel wheels hit the rails in a shower of sparks.

CAPTION (OWEN)

Back in Barrel Arbor, I dreamed of Chronos City, the Clockwork Angels, Atlantis, and Poseidon City.

CAPTION (OWEN)

I had seen those things already, and nothing was what I expected … But I was sure that some of the stories must be true.

COMMODORE (FROM SHIP)

And now we’re back in Endoline, Mr. Hardy. After last time, maybe we should stay away from that tavern …

PANEL 2

Disembarking from the airship, Owen looks toward the town buildings as the Commodore waves to workers.

CAPTION (OWEN)

I decided that the Seven Cities might be the last chance to restore my sense of wonder.

OWEN

Commodore, I-I appreciate all you’ve done for me in the past month, but there’s something I need to do. I’m going to find the Seven Cities.

PANEL 3

Close-up of Commodore Pangloss, who looks sad but not surprised.

COMMODORE

I knew you’d make that decision soon. It’s hard to hide restlessness aboard a small airship.

PANEL 4

Owen and the Commodore walk to the outside of the tavern, which is a big chamber carved into a rock wall. Outside, there are piles of rocks, discarded tailings. A pair of dirty-looking children are playing with the stones, stacking them up into the primitive Inuit inuksuk “stone man” sculpture as on the Test for Echo album cover.

OWEN

If I find the Seven Cities, I-I might not be coming back.

COMMODORE

If you don’t find them, you might not be coming back either.

PANEL 5

View from the interior of the tavern. Owen stands inside the door, looking brave. The other customers look toward him.

OWEN

I’m going to search for the Seven Cities of Gold. Who can give me clues where they might be?

MAN

Ha! Heard that one before!

PANEL 6

The rangy hunter is still there, lounging in a chair.

HUNTER

Head west and keep walking. And walking. You’ll reach the Redrock Desert. Your feet will take you where few people have ever been.

PANEL 7

Close-up of the hunter, who narrows his eyes, poking a finger toward Owen (who is not in the panel).

HUNTER

Canyons and basins, towering mesas. They say you’ll find paradise up there—if you can make it.

HUNTER

But I wouldn’t go there.

PAGE 6

PANEL 1

Owen crosses his arms over his chest, stoic. Beside him, the Commodore looks sad.

OWEN

I will. All is for the best.

COMMODORE

I won’t try to talk you out of it, Mr. Hardy. But I owe you back wages, and I’ll see that you get supplies and equipment.

PANEL 2

Next day, early morning, Commodore Pangloss hands Owen a pack. They are standing on the edge of Endoline, with forests and mountains and a great wilderness extending before them.

COMMODORE

Food, water containers, a knife, some rope, packets of fire-starting powder. It should be all you need.

OWEN

I also have confidence. And optimism. I think I have everything.

PANEL 3

Close-up, the Commodore extends his hand to give Owen a small dreamline compass, a contraption with watchfaces and compass needles. The positioning of these two hands should be similar (but a complete counterpoint) to the Hugh Syme “Carnies” artwork, where the Anarchist is handing off the detonator.

COMMODORE

And take this spare dreamline compass from the airship. One dial tells you where you are, and the other shows where you should be.

PANEL 4

Kneeling on the dirt street, Owen tucks a book in the pack—his mother’s book.

OWEN

And my mother’s book. Thanks for letting me borrow it.

COMMODORE

She’s not your real mother, Mr. Hardy.

OWEN

But she might have been.

PANEL 5

Owen and the Commodore give each other a heartwarming farewell embrace.

PANEL 6

Big panel, Owen walks away into the wilderness. At the side of the panel, the Commodore watches him go. He has a tear in his eye.

CAPTION (OWEN)

On my way at last …

PAGE 7

PANEL 1

Big panel. On top of a ridge, Owen shades his eyes and looks down the slope across the vast and amazing desert wasteland. I want this to have the same feel as the view from Grandview Point from the Island in the Sky in Canyonlands National Park, a spectacular and seemingly infinite expanse of red rocks. Google for reference.

CAPTION (OWEN)

The Redrock Desert. I’ve never seen anything so … Big.

CAPTION (OWEN)

A man could lose himself in a country like this …

PANEL 2

Owen walks along the canyons, passing tall slickrock formations, hoodoos, arches. Use Canyonlands, Arches, Moab for reference and inspiration.

CAPTION (OWEN)

Back in Albion, I never dreamed there were places without steamliner rails or roads.

CAPTION (OWEN)

Now I wish I could see so much as a footprint.

PANEL 3

Owen looks up at the ceiling of an overhang cave which sports tall, interesting petroglyphs. Use the “Grand Gallery” in the Horseshoe Canyon Unit of Canyonlands as an example, BUT also include the squiggly curve with arrow from the roadsign on the Snakes and Arrows Live album.

CAPTION (OWEN)

I know that people were here once, maybe the people who built the Seven Cities. But they’re gone now.

PANEL 4

Low angle to the ground, show Owen’s footprints trailing up to where the small figure of Owen keeps walking away.

CAPTION (OWEN)

I have more time to think than I ever did before. But I mostly think about nothing at all.

PANEL 5

Owen, alone, stands juggling rocks for his own amusement.

CAPTION (OWEN)

Just like Francesca taught me.

PANEL 6

A crow on a dead mesquite branch stares at him.

PAGE 8

PANEL 1

Narrow shot of the blazing sun in the sky

CAPTION (OWEN)

So hot during the day

PANEL 2

Nighttime, Owen huddles over a tiny fire of twigs with a blanket over his shoulders, pack leaning against a rock. He is in a place of hoodoos, for a very creepy feeling. See Goblin Valley State Park for reference. He is trying to read his mother’s book by the wan firelight, and he looks miserable.

CAPTION (OWEN)

So cold during the night …

OWEN

Not much wood for a fire … barely enough light for me to read my other-mother’s book …

PANEL 3

Owen staggers along the open rocky wasteland.

CAPTION (OWEN)

Wandering aimless. No clocks … no schedule … no plan.

CAPTION (OWEN)

I’ll have water, food, rest, and good company as soon as I find the Seven Cities.

PANEL 4

Owen looks up and ahead (maybe best if his back is to us). He sees/imagines a shimmering, indistinct, but magnificent golden city in the distance, a skyline with towers and domes, everything all gold and glowing. Think Shangri-La.

CAPTION (OWEN)

It will be as magnificent as I imagine …

PANEL 5

Small panel, Owen rubs his eyes.

CAPTION (OWEN)

If it’s real at all.

PANEL 6

Owen reaches the shore of a powdery white dry lakebed, like a man on an ocean beach—but this is just salt crystals. Color palette is white and washed out.

PANEL 7

Owen drops to his knees, digs his hands into the crumbling powder.

OWEN

The lake between the sun and the moon! It has to be! I must be close.

PAGE 9

PANEL 1

Big panel, top third of page. Owen stares across the dry lakebed (which sparkles like a Twilight vampire in the sunlight) at a towering mesa dead ahead that rises out of the desert on the other side of the dry sea.

CAPTION (OWEN)

The Seven Cities are on top of that mesa! If I can get there.

PANEL 2

Owen staggers across the powdery dry seabed. White puffs of crushed salt are stirred up in his footprints. He is surrounded by translucent ghost images of Francesca, the Anarchist, Tomio, Commodore Pangloss.

OWEN

Don’t trust what I can see … but I was brought up to believe.

PANEL 3

Reaching the other side of the dry lake, Owen climbs among boulders, big slabs of rock that have slid down from the side of the mesa. Sheer cliffs tower above him.

OWEN

And I believe the Seven Cities of Gold are up there.

PANEL 4

Owen climbing the cliff, crawling up a crack, barely balanced on a ledge.

OWEN

A beautiful paradise, with treasure, and people to welcome me …

PANEL 5

A bedraggled Owen finally reaches the top of the mesa, crawls over the edge. We are looking back at him and the sheer drop off with the distant sprawling desert behind him. We don’t yet see what he sees on the mesa.

OWEN

We get what we deserve …

PAGE 10

PANEL 1

It’s just a grassy, flat prairie with the crumbling ruins of some modest pueblo-style buildings.

OWEN

Not … quite … what I imagined.

PANEL 2

Owen walks among the low stucco buildings; most of them are one story, with a few two-story structures. He calls out.

OWEN

Hello? Is anyone here?

OWEN

I’m Owen Hardy from Barrel Arbor! In Albion! I’ve come to see the Seven Cities of Gold!

PANEL 3

He stops at an open window, peering into the shadows. A lizard scurries down the wall.

OWEN

Anybody? I’ve come a long way …

PANEL 4

Finding a tilted basin outside one of the abandoned buildings, Owen greedily splashes rainwater into his face and mouth.

CAPTION (OWEN)

At least there’s rainwater …

PANEL 5

Stepping through the door of one of the crumbling pueblos, he sees scattered corn cobs on the floor. Small mice scurry away.

CAPTION (OWEN)

And a little food …

PANEL 6

In dismay, Owen slides down against the inside wall of the dim, empty hut. He puts his head in his hands, miserable. A shaft of golden sunlight streams through an open window, but Owen doesn’t notice it.

CAPTION (OWEN)

But nothing else.

CAPTION (OWEN)

All is for the best? How can that be?

PAGE 11

PANEL 1

Owen stands outside the buildings again, the modest adobe village, but he again imagines the ethereal golden and fantastical city around him with unusual architecture, studded with gems. Use art effects so that it shimmers and is transparent, just a dream. The imaginary city is much fainter now.

CAPTION (OWEN)

Where did all the people go? Did they pack their treasure and leave? Is this all that’s left of a great civilization—ruins and legends?

PANEL 2

Owen puts his hands on his hips, determined.

CAPTION (OWEN)

But there are Seven Cities of Gold. I can’t give up after finding just one.

PANEL 3

Close-up, Owen holds the intricate dreamline compass in the palm of his hand.

CAPTION (OWEN)

I know where I should be … and where I should be going.

PANEL 4

Owen heads off across the grassy mesa top, following a thin, rutted track that was once a main road but is now overgrown. [Can combine panels 3-4. I like the close-up of the intricate compass in Owen’s hand for visual variety, but we can have just one panel of him looking at the compass as he walks along.]

PANEL 5

Owen arrives at another abandoned adobe city, which looks like an empty Anasazi ruins. It looks similar to the first one, but the art should make it obvious that this is a different city.

CAPTION (OWEN)

Five days later I found the second City of Gold. And it was as empty as the first.

PANEL 6

Owen stands at a crumbling old building inside the city. Nearby, for a different perspective and visual interest, add a cricket on a cracked adobe wall near Owen. Can use forced perspective to make the cricket the focal point of the image.

CAPTION (OWEN)

And a third city. And a fourth.

PAGE 12

PANEL 1

Lounging against one of the buildings, Owen stretches out his legs, rests his head on his pack. Relaxing.

CAPTION (OWEN)

So silent, so still …

CAPTION (OWEN)

Even though they’re empty, these Cities of Gold have another kind of treasure … solitude and peace.

PANEL 2

With a makeshift broom made of dry grass lashed around a stick, Owen sweeps debris out of one of the adobe huts.

CAPTION (OWEN)

And that is something I need. I’ve had enough of the world …

PANEL 3

Goofing around, Owen is on top of one of the fallen-in roofs, walking across a support beam like a balance beam. He has his arms out to the side for his balance.

CAPTION (OWEN)

Back home in Albion, the carnival is still making its rounds …

PANEL 4

With a stick for a hoe, Owen has plowed a furrow and is planting seeds. Beside him, a neat line of new shoots pokes out of the ground to show that he’s been here a while. His hair is longer.

CAPTION (OWEN)

Back home in Barrel Arbor, my father will be working the apples by himself, without an Assistant Orchard Manager … delivering fresh cider to the Tick Tock Tavern …

PANEL 5

Owen looks up to the wide open sky, seeing only a few wispy clouds.

CAPTION (OWEN)

And Commodore Pangloss is still making his airship runs … but I’m much too far away to see it.

PANEL 6

Owen walks off again, following a faint trail along the edge of the mesa, with the Redrock Desert and all the amazing distant pinnacles and formations extending to the horizon.

CAPTION (OWEN)

But solitude and peace only last so long, and I can’t stop thinking big.

CAPTION (OWEN)

I still have three more lost cities to find. Maybe the people will welcome me.

CAPTION (OWEN)

I could use some company …

PAGE 13

PANEL 1

Owen reaches another empty city.[Nick, it’ll be a challenge, but try to put these villages in different settings, different arrangements, so that they look like different ruins; the captions should make that clear enough.] The skies are gloomy and gray, hinting at snow.

CAPTION (OWEN)

But the next ruin is also empty

CAPTION (OWEN)

And so is the next. The Seven Cities of Gold exist only in tales …

CAPTION (OWEN)

Can I rewrite the story?

PANEL 2

Owen trudges along, away from the empty city, head bent, as the wind blows and snowflakes whip all around him.

CAPTION (OWEN)

I’ve been searching for months … and all I’ve found is winter.

CAPTION (OWEN)

But my optimism won’t fail me. I can still cling to hope. There’s one last city—I’ll find it.

PANEL 3

Big panel. Owen stands at the edge of the last city, a similar ruin, this time frosted by an inch of snow. Nothing stirs, and there are no people. It is late afternoon and the sun is low in the sky. Owen’s shadow is long on the snow.

This village has two tall stone pinnacles very close together, like Stonehenge stelae. The stone itself is laced with quartz veins. See novel for detailed description.

CAPTION (OWEN)

At last I found the seventh city, days later.

CAPTION (OWEN)

Sometimes the Angels punish us by answering our prayers …

PANEL 4

Close-up, a tear trickles down Owen’s face.

PANEL 5

The sun is orange, setting lower, falling exactly between the two tall stone monoliths.

PANEL 6

Like an orange wedged between the two stones, the setting sun is swollen, light flares out, like a sunflare on a camera lens. Something magical is happening!

PAGE 14

PANEL 1

Glorious! Big panel: The setting sun caught between the stone pinnacles reflects on the quartz veins and spills golden light EVERYWHERE, flooding the silent snow-covered city with molten gold. It’s breathtaking!

CAPTION (OWEN)

Gold! The last rays of the setting sun! The winter solstice! The quartz in the rocks.

PANEL 2

Owen stands with his arms outstretched, a look of joy on his face, reveling in the treasure he has found. He shouts.

OWEN

There is gold here!

PANEL 3

Close-up of Owen’s face, filled with wonder and joy.

CAPTION (OWEN)

Better than any treasure I expected, a kind of gold I don’t know that I would have noticed before. A gift, a reward …

CAPTION (OWEN)

We get what we deserve.

PANEL 4

High shot. As the sun sets and the sky turns a deeper orange with intense sunset colors, Owen sits on a boulder, just reveling in the view. Owen can be small figure, silhouetted.

CAPTION (OWEN

But this city of gold would be so much better if only I had someone to share it with.

PANEL 5

Next morning. Owen sets off again, heading back, following his footprints in the snow.

CAPTION

Next morning …

CAPTION (OWEN)

After so many journeys, so many adventures, so many months, I think it’s time to go.

CAPTION (OWEN)

Home.

PAGE 15

PANEL 1

Owen has returned to the first village. He’s in one of the ramshackle adobe buildings, stuffing supplies into his pack. Sunny skies again.

CAPTION (OWEN)

Over the next weeks, I worked my way back through the other cities.

CAPTION (OWEN)

This time I was better prepared …

PANEL 2

Owen stands on the edge of the mesa (where he climbed up on the bottom of page 9). He holds the dreamline compass in front of him, taking a reading as he looks out across the Redrock Desert and the distant line of mountains, behind which is the mining town of Endoline.

OWEN

Dreamline compass—set.

PANEL 3

Tense, Owen works his way down the steep cliffside, searching for footholds, handholds.

PANEL 4

Owen trudges across the desert, confident now, past towering slickrock formations.

CAPTION (OWEN)

I have been far and wide … and now I’m going back to the beginning.

PANEL 5

Owen walks through a pine forest, and up ahead he sees glimpses of the mining village.

CAPTION (OWEN)

Tougher … wiser … more confident …

PANEL 6

Looking bedraggled and much older, with longer hair, stubble on his cheeks, Owen stands at the edge of Endoline, looking at the mining operations, the people moving about, many of them turning to stare at him.

CAPTION (OWEN)

But I’m still Owen Hardy from Barrel Arbor

MINER

Look who’s back!

PAGE 16

PANEL 1

Owen enters the tavern, to many astonished looks. The rangy hunter is still there by the crystal fire.

HUNTER

No one ever comes back from out there!

OWEN

I did.

PANEL 2

Close-up of Owen’s face, and he looks older, tougher, harder, but still with the light in his eyes.

OWEN

And the things I saw along the way …

PANEL 3

Owen sits at a table, and others gather around. Someone hands him a goblet of the potent liquor.

MAN

Did you find the Seven Cities?

ANOTHER MAN

Are they are magnificent as the stories say?

THIRD MAN

Draw us a map. We all want to see.

PANEL 4

Owen is cagy, drinks from his goblet.

CAPTION (OWEN)

Yes, I found the Seven Cities, but the “gold” was not any kind of treasure I could describe for these people.

CAPTION (OWEN)

I sustained myself on all those dreams and the hope of finding something special.

CAPTION (OWEN)

The miners in Endoline have few enough dreams. Who am I to take them all away?

PANEL 5

Owen sets down the goblet, wipes his mouth. The people are wide-eyed, hanging on every word he has to say.

OWEN

No, I didn’t find the Seven Cities of Gold, no matter how hard I searched.

OWEN

They’re still out there, waiting for someone else to find them.

PANEL 6

He walks out the tavern door.

OWEN

For now, I have to return to Poseidon City, and then Albion—in search of something else.

PAGE 17

PANEL 1

Owen stands outside, waving his hands as Commodore Pangloss’s airship comes in for a landing at Endoline. He is grinning.

PANEL 2

Pangloss emerges from the landed airship, bounding toward Owen. He, too, is grinning.

COMMODORE

Mr. Hardy! You’re back! You survived!

OWEN

That’s obvious, Commodore.

PANEL 3

The Commodore sweeps him up in a big bear hug, lifting scrawny Owen off his feet.

COMMODORE

Will you join me again on the airship? You’ve been away so long, I’m starting to get a jaded view of the world again!

OWEN

*Urrk* Well, we can’t have that!

PANEL 4

Aboard the steamliner, Owen and the Commodore, both sweating, work side by side, both shoveling red coal into the furnace aboard the airship.

COMMODORE

I never realized how much I appreciated your help. Good to have you aboard again.

OWEN

I’ll ride with you, Commodore, but when we get to Poseidon City, I want to find a steamer to take me back to Albion.

PANEL 5

Big panel. The airship approaches the ramshackle, jumbled metropolis of Poseidon City. We can also see the port crowded with ships. It’s just sunrise, with the sun lifting out of the water (Poseidon is on the east coast of Atlantis.)

COMMODORE (FROM SHIP)

You’ve changed a great deal, Mr. Hardy. I never thought you’d want to go back to your quiet village.

OWEN (FROM SHIP)

I don’t know for sure. The universe has a plan … or so I’ve been told.

PAGE 18

PANEL 1

Owen and Pangloss walk along the crowded, bustling streets of Poseidon City in the port, passing dockworkers, cargo haulers, steamers at berths. Both are wearing nice clothes.

OWEN

Poseidon City is still a rough town, but it doesn’t seem so sinister anymore.

COMMODORE

Oh, it’s still dangerous, but you’re with me, now. You’re respectable. And I can help you arrange passage on a steamer.

PANEL 2

Pangloss and Owen stand at the dock where a big Albion steamer has tied up, looking up the gangway. This is the same steamer Owen rode away from Albion. At the top of the gangway, we see CAPTAIN LOCHS squinting down at them.

COMMODORE

Captain Lochs! I have a favor to ask of you. My friend here is bound for Albion.

CAPTAIN LOCHS

Is that Owen Hardy? I know him well from his voyage here, Commodore. Come aboard! We’re ready to leave port.

PANEL 3

Heartfelt scene, the Commodore places his hands on Owen’s shoulders in a meaningful farewell. Owen has tears in his eyes.

COMMODORE

My time with you has been … unforgettable, Mr. Hardy. I hope you find what you’re looking for.

OWEN

I already found it, Commodore. But that doesn’t mean I have to stop looking.

PANEL 3

On deck at the top of the gangway (with Pangloss still on the dock below) Owen shakes the captain’s hand. Sailors pull on ropes, hauling up the gangway. NOTE, the crew on the ship are both men and women, also multiracial.

CAPTAIN LOCHS

You’ve changed much, young man. Your special task for the Watchmaker is finished now?

OWEN

I have a confession. I-I wasn’t really on a mission for the Watchmaker.

CAPTAIN LOCHS

Oh? And how can you be so sure? All is for the best.

PANEL 4

Commodore Pangloss’s perspective. He stands on the dock, his back to us, watching as the steamer chugs off with a plume of blue-tinted steam. He looks forlorn to see his friend depart.

PANEL 5

Owen on the deck of the steamer, elbows on the rails. He looks back as the shore of Atlantis recedes. Captain Lochs is next to him.

CAPTAIN LOCHS

Happy to have you join us again. I know you do good work … provided you don’t get seasick this time!

PAGE 19

PANEL 1

The steamer at sea, relatively calm waters, a few clouds in the sky.

CAPTION (OWEN)

Either the seas were calmer this time, or I was calmer after what I’d been through—more stable, more grounded.

CAPTION (OWEN)

For the first three days, the voyage was smooth.

PANEL 2

Owen on deck, points off toward the watery horizon where he sees just a dot up in the sky. (This is actually a scout airship, but probably not something that can be discernible on the art.) The sailors scoff at him.

OWEN

What’s that up in the sky? It looks like an … airship?

SAILOR 1

An airship? We’re days from shore, lad!

SAILOR 2

Next he’ll be saying he’s seen the Wreckers!

PANEL 3

Inside the captain’s quarters, Owen and the captain are hunched over a small table, each of them eating soup.

CAPTION (OWEN)

Since I was a paying passenger this time, Captain Lochs welcomed me, more interested in my old life than my recent adventures.

OWEN

I’m surprised you’d want to hear about a dull place like Barrel Arbor, Captain.

CAPTAIN LOCHS

Back and forth from Albion to Atlantis—I sometimes dream of a quiet, perfect life. In truth, these voyages can be a little dull, too …

PANEL 4

A gray, ominous panel. Rough, whitecap waves smash against the side of the steamer.

CAPTION (OWEN)

After days of smooth sailing, I was sure I wouldn’t get sick this time. Then the sea threw its worst at us.

PANEL 5

Head down, holding his hat hard on his head, Owen runs up the metal stairs in the pounding rain; he is trying to reach the bridge deck.

PANEL 6

Wet and bedraggled, Owen stands in the sheltered bridge while Captain Lochs holds the wheel and looks with great concern through the bridge windows at the cauldron of churning waves ahead of them.

CAPTAIN LOCHS

This is a bad one, Mr. Hardy. We’re days from land, all alone out here.

FIRST MATE

Winds have taken us off course—the coldfire boiler is working at its peak.

NAVIGATOR

Can’t get a compass reading …

PAGE 20

PANEL 1

A big wave washes against the window of the bridge, slamming the steamer. Captain Lochs raises an arm to shield his face. Owen goes sprawling. Charts and logbooks are scattered. The frame is tilted. Everyone is shouting.

OWEN

Where are we?

CAPTAIN LOCHS

No one can tell. Right now I’m just trying to keep the steamer afloat!

FIRST MATE

Cargo is going to be unstable, Captain!

PANEL 2

Inside the cargo hold, sailors rush to lash down crates and sacks marked with alchemical symbols. Ropes snap, and several wooden crates come tumbling down. A sailor scrambles out of the way.

SAILOR

Keep those alchemy crates dry, or all those chemicals will be ruined!

PANEL 3

On the bridge, suddenly a blazing blue light appears in the distance like a cold sun just on the horizon. Holding onto a wall for balance, Owen points toward the window.

OWEN

Captain, look! That light—someone else is out here! It’s a miracle.

PANEL 4

Captain Lochs looks concerned and exhausted, slumping against the wheel.

CAPTAIN LOCHS

Seems too good to be true. Under normal circumstances, I’d be wary—-but this storm gives us no choice.

CAPTAIN LOCHS

Change course!

PANEL 5

Small panel. Owen’s face bathed in the eerie blue light of the distant beacon. His expression is filled with wonder and hope.

OWEN (MUTTERS)

It’s beckoning us to safety, like … an angel.

PANEL 6

The steamer churns through insanely rough waves, heading toward the blazing, ethereal beacon.

PAGE 21

PANEL 1

Small panel, Owen leans forward on bridge deck, looks through the front window, and his face is filled with horror.

OWEN

Look out ahead, Captain! REEF!

PANEL 2

Dramatic panel, the steamer runs headlong into a line of foam-covered sharp rocks, a dark reef island. The rocks slit open the side of the ship like a gutting knife on a fish belly.

SFX

SKKEEERRRRRRURRRRRRR

PANEL 3

Waves crash into the bridge housing, smashing the windows. People go flying everywhere. Captain Lochs is thrown into the bulkhead, smashing his head.

CAPTAIN LOCHS

Unnnhhh …

PANEL 4

On the deck of the steamer, sailors are scrambling. Some grab life preservers and jump overboard. Crates tumble over the sides. Meanwhile, like a baleful blue eye, the gleaming pale beacon shines very close.

SAILOR

The ship is sinking!

PANEL 5

Owen hauls an unconscious and bleeding Captain Lochs out onto the deck.

OWEN

The ship is going down, Captain. Gotta get you to safety.

OWEN

What’s that noise? It sounds like … cheering?

PANEL 6

Looking over the side, Owen sees that they have run aground on a rugged rocky reef, and shadowy people are there, a line of them carrying lanterns, all roped together against the storm and waves. They are dressed in hoods and slickers. These are the Wreckers, ragtag gypsy pirates.

OWEN

People out there on the reef? They must be rescuers!

OWEN

What else could they be …

PAGE 22

PANEL 1

The Wreckers swarm up to the ship like locusts scrambling into the gaping breach in the hull, passing out crates from the cargo hold like a fire-brigade line.

CAPTION (OWEN)

No … not rescuers. Scavengers.

PANEL 2

On deck, another wave washes over the bow and sweeps the unconscious captain out of Owen’s arms and away.

OWEN

Captaaaaaiiiinnnnnnn! Nooo!

PANEL 3

Figures climb up over the deck rail, throwing grappling hooks, hauling themselves up. They look like pirates, dressed in patchwork clothes. Some sailors flee, some try to fight.

SAILOR

It’s the Wreckers!

OWEN

That beacon … They did it on purpose! They lured us into the reef!

PANEL 4

On the rocks below and in the water, the Wreckers are hunting down and chasing the sailors who have jumped overboard. One sailor with a life preserver tries to swim away as a Wrecker brutally clubs him on the skull.

SFX

WHACKKK!

PANEL 5

Owen grabs a piece of wood from a splintered crate and holds it up as a pathetic weapon to defend himself with. A big burly Wrecker wielding a cudgel strides up to him.

WRECKER

You’re the one. HE said to take you alive and unharmed … mostly.

PANEL 6

Though Owen tries to defend himself, the Wrecker brings down the cudgel on Owen’s head.

PANEL 7

Black.

END OF ISSUE 5

***

ISSUE 6

PAGE 1

The background of this opening page is a full bleed behind all the panels: an ugly, black cloud sky with slashing rain, and the image fades to white by the bottom third of the page. Owen is having a nightmare of the shipwreck and the storm at the beginning, and then he wakes up toward the bottom.

Top sequence is flashbacks/recaps of small images from previous issue. They are nightmarish, so the panel borders can be skewed. The flashback panels don’t have to be linear either, but like a whirlwind of images.

PANEL 1

Angry, crashing waves.

PANEL 2

Owen leans forward on bridge deck, shouting. (Issue 5, p 21, Panel 1)

OWEN

REEF!

PANEL 3

Centerpoint of the flashback images, a narrow horizontal close-up panel of Owen’s eyes wide with terror. This is in shadow, the night of the storm, gloomy.

PANEL 4

The steamer smashes into a line of reef rocks, massive shipwreck. (Like Issue 5, p 21, Panel 2, but I would prefer a different view, so we’re not just recycling art … that will be too apparent in the collected edition.)

PANEL 5

Wreckers swarming over the deck. A sailor yells. A vicious-looking Wrecker lurches toward Owen who cringes on the deck, holding up a splintered piece of wood to protect himself. The Wrecker swings a cudgel at him.

SAILOR

Wreckers!

PANEL 6

Similar to Panel 3, close-up of Owen’s eyes, but sleepy now, and lit by bright sunlight.

PANEL 7

Big panel, primary one on the page. Owen wakes up lying on a bed in a small wooden-walled cabin with a patchwork quilt over him, a bandage on his head. A hinged porthole window on the near wall has been swung open to let in sunlight and fresh air.

OWEN

Unnnhhh. Where am I? What happened? They rescued me!

PAGE 2

PANEL 1

A stern-looking Wrecker woman (Xandrina) stands at the cabin door, dressed in a frumpy rag dress with a magenta sash and bangles; she also has a magenta scarf wrapped around her head; she’s stout and no-nonsense. She holds a chipped bowl in her hands.

XANDRINA

I thought you’d wake up sooner. I made some fish broth for you to gain your strength … but it’s cold now.

PANEL 2

Owen struggles to sit up in bed, groaning. Xandrina extends the bowl, impatient.

OWEN

This is a strange sort of hospital …

XANDRINA

And I’m a strange sort of nurse. Now eat, so you can be up and out of here. You’re supposed to recover so you can be useful.

PANEL 3

Owen takes the bowl and slurps his soup. (No way is this woman going to spoon-feed him!)

OWEN

Who are you?

XANDRINA

I am Xandrina … and you are Owen Hardy of Barrel Arbor. HE said we would find you, and he told us to save you.

PANEL 4

Angry, Owen throws the bowl to the side, as he struggles to get up. Xandrina is at the cabin door, leaving.

OWEN

You … you’re the Wreckers! You lured our ship to the reef! You killed everyone!

XANDRINA (LAUGHS)

We are the Free People of the Sea. We are hunters … don’t expect us to feel sympathy for the rabbits.

PANEL 5

Owen staggers across the deck, unsteady, grabbing his head.

OWEN

Wait! How do you know my name? Where—

PANEL 6

Owen stands at the door, yanks it open, looks outside. We see his astonished face.

OWEN

Oh …

PAGE 3

PANEL 1

One of two jaw-dropping pages in the issue (the other is p 11). The Wreckers have built their own “island” an incredible cluster of ships they have wrecked, the hulls lashed together to form a city of dead ships. Many of these ships have been there for some time, tangled with ropes, festooned with bright streamers. Laundry hangs on clotheslines tied to masts. Owen is a tiny figure; we see this city of floating ships from a height. (We can even put a seagull in the frame next to the viewer.)

OWEN

This is where the Wreckers live …

PANEL 2

Xandrina picks up baskets from a pile on a tilted deck, glancing up at him.

XANDRINA

This is what the Wreckers built out of what was left to us. We can’t just destroy everything, you know.

XANDRINA

I’m glad you decided to get out of that cabin. He paid me two diamonds to care for you, but I didn’t know you would be so much trouble.

PANEL 3

Owen shouts after Xandrina as she walks away across the deck carrying several baskets, on some urgent chore of her own. She doesn’t even look back at him.

OWEN

But you’re pirates! Murderers. You killed Captain Lochs!

XANDRINA

We’re the Free People of the Sea. And now you’re one of us.

PAGE 4

A series of panels depicting the rough, colorful Wrecker life. They are gypsies, free spirits, edgy, but with their own dark charm. See pp 252–254 in novel for more descriptions.

PANEL 1

Small panel, close-up. Owen touches the bandage on his head, which now sports a fresh splash of red blood.

OWEN

No … I don’t think all is for the best.

PANEL 2

A family (adults, but with a couple of late teens) squatting around a bright blue coldfire cook fire and a pot, while the father lounges in a hammock behind them. One of the teens is hanging laundry.

PANEL 3

Her eyes closed, a middle aged woman sways as she plays an exotic clarinet-like instrument.

PANEL 4

A rowboat pulls up to the side of one of the hulls, and men lift up nets full of flopping fish, while other Wreckers take them onto the deck.

PANEL 5

A rough-looking man (the one who struck Owen with a cudgel at the end of issue 5) is in an open-deck boxing match with another Wrecker. Others crowded around are laughing, but there’s an edge to their attitudes and to the men fighting. It’s not obvious whether this is all in good fun. The rough-looking man lands a powerful roundhouse punch on his opponent’s face.

PANEL 6

Men and women dance to raucous music. Behind them, two Wreckers jump from the deck of one ship to another.

PAGE 5

PANEL 1

Big panel, Owen makes his way to where a small, tattered scout airship is tethered to the deck of one of the conglomerated Wrecker vessels. This is the patchwork airship shown in Hugh’s painting on p 271 of the novel.

OWEN

I know that ship … I’ve seen it before.

PANEL 2

A female Wrecker scoutship pilot tugs on one of the tether ropes, preparing to board the ship. She is dressed in motley clothes, even has steampunk goggles. Her hair is short and she looks like a ragamuffin; a smear of grease is on one cheek.

OWEN

When I was on the steamer bound for Atlantis, I know I saw this ship up in the sky.

(small voice)

No one believed me.

PILOT

I always watch for ships and storms. And opportunities.

PANEL 3

The pilot looks over her shoulder as she swings into the scoutship.

PILOT

We light the beacon and get ready. The ships always fall for it. Sounds like you got lucky the first time.

PANEL 4

Close-up, Owen’s face with a tear running down his cheek.

OWEN

Lucky …

PANEL 5

Big panel. With his back to us, Owen watches as the steam airship lifts up and sails away. The Anarchist speaks to him from outside the panel. We don’t see him until next page.

ANARCHIST (OUT OF PANEL)

You travel a very random course, Owen Hardy of Barrel Arbor. Refreshingly unpredictable!

PAGE 6

PANEL 1

Dramatic panel, the villain appears on stage. The Anarchist stands there, grinning.

ANARCHIST

Good thing I stole one of the Watchmaker’s own Destiny Calculators, or I would never have known where to intercept you.

PANEL 2

Owen is shocked and angry. He clenches his fist.

OWEN

You! The last time I saw you, you set a detonator in Chronos Square—tried to destroy the carnival!

OWEN

And they blamed me for it! You … you ruined everything.

PANEL 3

The Anarchist laughs.

ANARCHIST

Consider it a fresh start. The nudge you needed to change your life.

ANARCHIST

I set you free!

PANEL 4

Two shot, view from above so we can see more of the interconnected shipwrecks.

ANARCHIST

The Wreckers are my kindred spirits—that much should be obvious. They understand freedom.

PANEL 5

Shot of two Wrecker men climbing a tilted mast, while another one throws a rope up to them. Anarchist continues from previous panel.

ANARCHIST

Once we destroy the Watchmaker’s Stability, they will do just fine. They’re survivors.

PANEL 6

Close-up, the Anarchist extends his tattooed hand.

ANARCHIST

I’ll do my best to teach you, make you fit in. Come, let me show you something.

PAGE 7

PANEL 1

The Watchmaker’s section, with appropriate panel design and gear embellishments from his previous scenes. Establishing shot of the Watchmaker’s Tower.

CAPTION

Crown City. The Watchmaker’s Tower.

PANEL 2

Big panel, exotic and strange. The Watchmaker stands before an odd apparatus, an arrangement of large and small lenses, all of them connected by clockwork gears … something like an optometrist’s eye-testing apparatus, but this arrangement is as large as a window. Oddly, the connected lenses are mounted in front of a brick wall, so the Watchmaker can’t really be seeing anything. But as he adjusts the gears, two of the random lenses glow with the faint blue of coldfire.

WATCHMAKER

Tick. Tock. Tick. Tock.

PANEL 3

A breathless uniformed Regulator captain of the black guard rushes in.

REGULATOR CAPTAIN

Watchmaker, sir! We found them! The Wreckers—we have their coordinates at last.

PANEL 4

The Watchmaker turns and gives a hard, determined smile. He is so ancient! And his eyes have a faint blue of coldfire … somewhat like his daughter, the gypsy fortune teller.

WATCHMAKER

Exactly as my Destiny Calculators foretold. Even my former student isn’t as unpredictable as he thinks he is.

PANEL 5

At his desk, the Watchmaker picks up folded, accordioned pages and pages and pages with decision trees spilling across them.

WATCHMAKER

Two centuries ago, I took the chaotic land of Albion and imposed my Stability. It was a tremendous fight, but I succeeded!

PANEL 6

From a hook on the wall, the Watchmaker grabs a gray military-style jacket (like the Regulator’s, but gray) while he ushers the Regulator captain out of the tower room. They are in a rush.

WATCHMAKER

This battle is just as important. Dispatch all troops, all weapons, all airships. We must fight to ensure that all is for the best.

REGULATOR CAPTAIN

Yes, sir! All is for the best.

PAGE 8

PANEL 1

The Anarchist and Owen stand beside a towering rig, like a crane structure or an oil derrick. It is a slatted structure made of wooden beams, situated on a separate deck from the inhabited ships, out at the edge of the raft-island. At the top, extended on an arm like a crane, dangles a large crackling blue-white sphere of coldfire, dim now. This is what the Wreckers used to attract ships.

OWEN

That coldfire globe! That’s what lured our ship during the storm.

ANARCHIST

Yes, people are so easily fooled by what they want to see. The coldfire is dim now, but we can stoke it during a storm … and it’s as bright as an angel!

PANEL 2

Aloof, the Anarchist grabs one of the slats and swings himself up, climbing.

ANARCHIST

It’s time to continue your education, Owen Hardy. I need to make you useful.

PANEL 3

Owen stands on the deck at the base of the coldfire tower, hands on his hips, obviously looking angry.

OWEN

I don’t want to be here. And I certainly don’t want any of your education.

PANEL 4

The Anarchist is high up now, almost to the top, calling down, taunting. Looking uncertain, Owen begins to climb after him.

ANARCHIST

I would never force you—but any truly free man should not be afraid to listen to other ideas. Are you afraid?

OWEN

No … just not interested.

PANEL 5

Big panel, together the two are at the top of the tower (with the coldfire globe extended out on its arm and dangling below). They look at the amazing conglomerate raft island of wrecked ships.

ANARCHIST

The Wreckers were happy to join me. They’ve embraced my mission to restore humanity to a natural state of complete freedom!

ANARCHIST

We sink cargo ships, deprive the evil Watchmaker of his vital alchemical supplies. I will bring down the Stability!

ANARCHIST

And as for the Wreckers … I think they just like to plunder the ships.

PAGE 9

PANEL 1

View from a distance with a seagull in the foreground. We see the raft-island, small boats around. The coldfire globe dangling from the crane structure.

ANARCHIST

You need to understand your importance, why you’re a lynchpin.

OWEN

But I’m not important. I was an assistant apple-orchard manager, but that was a long time ago. I’m … nobody.

PANEL 2

The Anarchist lounges against the structure. He holds up his hand with the burn scar (not the tattoo).

ANARCHIST

And that, my dear friend, is why you’re important. The Watchmaker’s entire Stability depends on a world of nobodies content to do nothing. Be free!

PANEL 3

A big panel that should cause a lump in the throat to anyone afraid of heights. The Anarchist holds onto a wooden strut at the top of the tower with one hand, and leans back out into the abyss, just dangling there, his feet planted like a kid on a playground structure. His eyes are closed, his face ecstatic as the wind whips his hair and clothes.

ANARCHIST

Can you feel it, Owen Hardy? No safety net, no harness, just the wind and freedom.

ANARCHIST

A life without risk is a life without … life! Rejoice in your freedom. Don’t stop thinking big.

PANEL 4

Owen clenches his fist. Can be just a close-up of his fist, or a larger shot.

OWEN

I’d rather be home with my friends. I’ve had enough of being your pawn.

PANEL 5

Seemingly distracted, the Anarchist shades his eyes, looking out to sea.

ANARCHIST

A pawn? Owen Hardy, what do you think destiny is?

ANARCHIST

Ah, I see our scout is returning. Hmmm … unexpected.

PAGE 10

PANEL 1

Big panel, the scout airship (filling most of panel) comes racing back across the sky, spouting long curls of vapor as its engines are cranked up to capacity. It’s wobbling and careening in the sky, sounding an alarm. From his perch, Owen looks at it, frowning.

SFX

Clannng! Clannng! Clannng!

OWEN

I suppose she’s found another ship to wreck … more innocent victims.

PANEL 2

As Owen looks down at him, the Anarchist begins climbing down the tower as fast as he can go.

ANARCHIST

No … that’s an entirely different sort of alarm.

PANEL 3

Wreckers catch the tether ropes from the scout airship, holding it in place as they crouch and strain. The female pilot leaps out of her ship to the deck. She is frantic, her hair windblown, her goggles askew.

PILOT

They’re coming! A full force! To arms!

PANEL 4

Wreckers scrambling on the decks, grabbing up spears, tridents, clubs. We see Xandrina with her fingers to her lips, whistling loud.

SFX (XANDRINA)

Fhweeeeeeeee!

WRECKER

Grab anything you can fight with.

WRECKER #2

The big weapons are belowdecks!

PANEL 5

Owen drops to the deck from the last struts of the tower. The Anarchist is striding away. He looks grim, but unhurried.

OWEN

What is it? Who’s coming?

PANEL 6

The Anarchist turns and points to the sky with an expansive gesture.

ANARCHIST

Our loving Watchmaker, of course.

PAGE 11

FULL PAGE

This is the most dramatic page in the issue, a real movie poster. The sky is full of battle dirigibles, like the previously seen airships, but enormous and ominous, ribbed fins, splashes of red and black, churning coldfire-laced steam. Cannons extend below the gondolas. They have the honeybee symbol prominently emblazoned on the fabric sides, but this is a more dangerous-looking symbol, the honeybee turned to the side, abdomen drawn up and ready to sting, with a prominent stinger showing.

On the water below is a full fleet of battle steamers, chugging and belching tall pillars of steam.

Owen and the Anarchist stand on the edge of one of the Wrecker ships, looking out at the giant force coming toward them.

ANARCHIST

It seems we’ve been found.

OWEN

I doubt the Watchmaker is here to rescue me …

PAGE 12

PANEL 1

The motley Wreckers dash about the decks, preparing their defenses, frantic. Many have grabbed swords.

PANEL 2

Ignoring Owen, the Anarchist strides among the Wreckers, as if he’s waterproof to all the flurry around him. He raises both hands, rallying them.

ANARCHIST

Embrace the opportunity! Draw your swords and prepare to fight! You are the Free People of the Sea!

PANEL 3

Men and women climb out of hatches from belowdecks, carrying armloads of swords, handing up stacks of flintlock-type rifles. The Wreckers are eager to grab them.

PANEL 4

Owen’s surly “nurse” Xandrina with her magenta scarf on her head and sash tied around her waist, brandishes a long and wicked-looking butcher knife.

PANEL 5

The burly wrecker (who clubbed Owen at the end of issue 5) is at the top of a mast, holding a long flintlock rifle in one hand and waving it at the sky.

WRECKER

Damn your Stability, Watchmaker!

PANEL 6

With a wicked grin, the Anarchist grabs Owen’s shoulder, squeezing.

ANARCHIST

Isn’t it glorious?

PAGE 13

PANEL 1

Big panel, the Watchmaker’s armored dirigibles converge above the Wreckers’ raft-island. Uniformed Regulators (red, blue, and black uniforms) drop down on ropes, descending like a swarm.

PANEL 2

The steamer battleships close in, and a cannon blasts—with blue coldfire—toward the gathered ship hulls, knocking part of one to splinters.

SFX

Fwhooomm!

PANEL 3

At the railings of the Wrecker ships, Wreckers shout and fight in a frenzy, hurling debris down at tin-soldier Regulators who are swarming up the ships in perfect lines.

PANEL 4

On the decks, a line of Regulators drop to their knees and raise their rifles, in line, all synchronized. A captain shouts orders.

REGULATOR CAPTAIN

Tick. Tock. Three … two … one. FIRE!

PANEL 5

Many of the Wreckers on the deck are mowed down in the fusillade.

PAGE 14

PANEL 1

Like a raging mob stampede, the motley Wreckers howl and rush forward, completely disorganized, brandishing clubs, knives, swords, their own rifles. Xandrina is among them. They take some of the uniformed Regulators by surprise, falling upon several. It is total mayhem.

WRECKER

Get them!

WRECKER #2

They won’t know what hit ‘em!

PANEL 2

A second line of red-uniformed Regulators lines up and fires. They all look calm. Behind them, more Regulators drop down ropes from the dirigibles above.

REGULATOR CAPTAIN

Fire again. Perfect precision. Three … two … one. FIRE!

PANEL 3

On the deck, amidst smoke and chaos, Owen ducks low, running for cover. A bullet whangs off a crate nearby, sending up a shower of splinters.

OWEN

All is for the best … all is for the best! All is for the best!

PANEL 4

Xandrina is thrown backward, killed by a bullet in the chest. Her butcher knife goes flying out of her hand.

PANEL 5

Big dramatic panel. As the smoke from all the gunfire clears, the Watchmaker strides forward, tall, stiff, wearing a pseudo-military uniform.

WATCHMAKER

Fire as necessary. We have thousands of gold bullets.

WATCHMAKER

These vermin are in league with the Anarchist. They get what they deserve.

PANEL 6

Close-up of the Watchmaker’s ancient face, his eyes glowing blue with coldfire. He has a dangerous smile.

WATCHMAKER

Ah, and there you are, Owen Hardy. Exactly where you should be.

PAGE 15

PANEL 1

Owen tentatively rises up from where he’s taken shelter behind some strewn crates. The Watchmaker strides toward him.

OWEN

Me? Why do you care about me?

WATCHMAKER

The principle is proved. The need for perfect order is obvious. You must choose Stability. Step back into line.

WATCHMAKER

Back in Albion I will use you as my perfect example.

PANEL 2

The Anarchist runs across the deck, laughing, shouting. In his hand he carries a hissing alchemical bomb, which he hurls toward the fighters.

ANARCHIST

For Freedom!

PANEL 3

The bomb explodes in a great flash, throwing Regulators and Wreckers alike in all directions.

SFX

BOOM!

PANEL 4

The Watchmaker stands unruffled, fire and smoke all around. He shouts to the Regulators.

WATCHMAKER

Seize Owen Hardy and bring him back to the airships.

WATCHMAKER

Kill the rest.

PANEL 5

Panicked, Owen runs, stumbling over dead bodies, taking cover in the smoke. Show that Owen has snatched up a knife from one of the dead Wreckers. (He’ll need it in a few panels.)

PAGE 16

PANEL 1

Aerial shot: the battle airships let loose, blasting a volley from their gondola cannons.

SFX

FHWOOOOMMMMMM!

PANEL 2

Owen runs to the small scout airship that is bobbing, levitating, precariously tied to its tether ropes.

CAPTION (OWEN)

The Watchmaker …

CAPTION (OWEN)

The Anarchist …

PANEL 3

Owen scrambles aboard, climbing up (the airship is floating a few feet off the deck.

CAPTION (OWEN)

They both just want to use me.

CAPTION (OWEN)

But I choose not to decide. I refuse.

PANEL 4

Dangling from the open cabin of the airship, Owen leans out and cuts the tether rope.

CAPTION (OWEN)

That is my choice.

PANEL 5

On the decks of the Wrecker ships, the uniformed Regulators and the wild Wreckers are in a free-for-all, fighting in a frenzy.

PAGE 17

PANEL 1

The puttering, tattered scout airship rises into the sky. Clouds are gathering (there will be a storm by next page).

PANEL 2

A Black Guard Regulator points up to the sky, shouting. Other Regulators raise their rifles.

BLACK GUARD

One of the Wreckers is getting away! Open fire!

PANEL 3

Small panel. Close-up of a gray fabric balloon sack of the scout ship—a bullet strikes and punches a hole in the sack.

SFX

*Pockkk*

PANEL 4

Inside the cluttered scoutship, a very pale reminder of Pangloss’s glorious airship, Owen frantically works the controls.

OWEN

Life goes from bad to worse.

OWEN

Good thing I spent all that time with Commodore Pangloss aboard his airship …

PANEL 5

Owen’s hands fiddling with an exotic compass dial with cardinal points marked with alchemical symbols.

OWEN

Course set for Albion … I think. At least it’s the right direction.

PAGE 18

PANEL 1

In a dark, stormy sky, the airship is buffeted about in slashing rain. A curl of blue-tinted exhaust rises from the engines. We also see a thin tendril of escaping steam from the punctured air sack.

OWEN (FROM AIRSHIP)

If this wreck will take me all the way to the coast …

PANEL 2

Huddled inside the dim control deck, Owen opens an engine compartment, and his face is washed with pale blue glow from the coldfire reservoir … but it’s fading.

OWEN

Coldfire reservoirs are very low. The scout pilot must have burned most of them. Engines are going to fail soon …

PANEL 3

Owen looks longingly out the rain-streaked windshield, sees the starry night sky overhead.

OWEN

If this is supposed to be a great adventure, it doesn’t feel that way.

OWEN

I miss my father, and Barrel Arbor, and the Commodore … and the carnival.

OWEN

And Francesca …

PANEL 4

The sinking airship crashes into the water, collapsing as if it’s too weary. High waves surge all around.

PANEL 5

Gasping, Owen claws his way out, escaping the wrecked airship as it sinks in the waves.

CAPTION (OWEN)

Is this what the Watchmaker really wanted?

PANEL 6

Owen clings to scraps, part of a framework, a waterlogged and deflated air sack.

CAPTION (OWEN)

I was brought up to believe …

CAPTION (OWEN)

But what do I believe in now?

PAGE 19

PANEL 1

Dawn, gray and foggy. Owen and the scattered wreckage of the airship washes up on a rough, rocky beach.

CAPTION (OWEN)

This must be Albion … but not quite the way I remember it.

PANEL 2

A bedraggled Owen trudges up a steep path to get to the top of the headlands.

CAPTION (OWEN)

At least I’m alive. I still choose to live.

PANEL 3

Head down, Owen trudges along a muddy rutted road with tufts of grass protruding in tall islands around him. Wisps of fog still surround him. It’s like he’s in a haunted moor.

OWEN

This place feels as empty as the Redrock Desert … but without any cities of gold.

PANEL 4

Owen bends down to pick up a scrap of paper caught in the grass next to a mud puddle.

OWEN

Lots of wheel tracks, trampled grasses. Something came through recently …

PANEL 5

Small panel, Close-up of the flier: it says MAGNUSSON CARNIVAL EXTRAVAGANZA! LAST SHOW OF THE SEASON! Drawn on the flier is Francesca with her metal-slatted angel wings extended as she walks a tightrope.

PANEL 6

Blue skies overhead now. Owen runs up a slope and reaches the top to look down on THE CARNIVAL!!! Tents erected, people around, lights lit. He can’t believe it!

PAGE 20

PANEL 1

Owen is surprised and delighted as Tomio suddenly appears from out of the trees, brandishing his sword.

TOMIO

Halt! Who goes there?

OWEN

Tomio! It’s me—

PANEL 2

Tomio drops his sword and grabs Owen in a big bear hug, much to Owen’s surprise.

TOMIO

Everyone! It’s Owen Hardy from Barrel Arbor! Returned to us from his own adventures.

PANEL 3

Big panel, like a family reunion. The carnival has set up a camp in a hollow surrounded by trees. We see all of our favorites (except Francesca) coming toward him: Louisa the bearded lady, Golson the strong man, the three clowns, and Cesar Magnusson still dressed in ringmaster uniform, red jacket, top hat … but something is odd. Magnusson does not have the distinctive handlebar mustache, and beneath the jacket is the obvious swell of breasts.

LOUISA

Owen Hardy! We missed you!

GOLSON

Look who’s back.

MAGNUSSON

Come to join us for winter camp? You’re welcome back among us.

PANEL 4

As the clowns clap Owen on the shoulder, welcoming him, he gawks at Magnusson, who laughs at his reaction. Francesca is not in the panel, but she speaks from the next panel.

OWEN

But Cesar Magnusson—what happened to your mustache? And you … your … chest—

MAGNUSSON

My real name is Cassandra, not Cesar. The carnival has to keep up appearances. The Watchmaker does not allow female owners of traveling circuses.

FRANCESCA (OUT OF PANEL)

It’s part of the show. My mother is good at her own illusions.

PANEL 5

Francesca stands there at the edge of the camp, all gorgeous and smiling. Owen’s jaw drops.

OWEN

F-Francesca!

FRANCESCA

About time you came back, Owen Hardy. How long did you expect me to wait for you? Besides, the carnival still needs a juggler.

PANEL 6

Francesca close-up. She holds up a withered dry rose in her fingertips, close to her face.

FRANCESCA

You dropped this when you left us.

PAGE 21

PANEL 1

The three clowns, Leke, Deke, and Peke, ham it up, clutching their hearts, swooning.

PANEL 2

Francesca takes Owen by the hand and leads him off into the trees. He follows her as if he’s mesmerized.

FRANCESCA

Come with me—we have a lot of things to talk about. You can tell me all your adventures.

FRANCESCA

In private.

PANEL 3

Owen and Francesca are sitting under an old, gnarled apple tree from an overgrown orchard, in an echo of the panel from issue 1 with Owen and Lavinia.

OWEN

You were waiting for me? But you laughed at me! You turned me down—

FRANCESCA

Oh, Owen. You have such an imagination and such a good soul. But you took me by surprise, didn’t give me a chance to talk …

OWEN

You broke my heart.

FRANCESCA

Well, then let’s see what we can do to fix it. Tell me where you’ve been, what you’ve done.

PANEL 4

More distant shot, showing both of them, maybe silhouetted under the tree.

OWEN

Poseidon City … Commodore Pangloss … and the Seven Cities of Gold …

OWEN

and … the bomb in the carnival in Chronos Square! I barely got away!

OWEN

And the Wreckers! The Anarchist! He was fighting the Watchmaker! A great battle out at sea! And —

PANEL 5

Close-up, two shot. Francesca looks at Owen.

FRANCESCA

The Watchmaker and the Anarchist will always fight. They cannot exist in the same place and time. You can’t resolve it. All that you can do is wish them well.

FRANCESCA

Live your own life. And stay with us …

PANEL 6

Final panel, Owen is sitting cross-legged in front of the gypsy fortune teller booth again. He reaches out to take the fortune card extended from the slot.

OWEN

I know what I want, Madam. But is it the right choice? Should I stay here?

FORTUNE TELLER

You already have the answer, Owen Hardy. But if you want my advice …

PAGE 22

As with the first pages of issue 1, these panels are sepia-toned on cream/parchment paper.

PANEL 1

Close-up: Owen’s hand, much older, holds the faded and curled fortune teller’s printed card. On it, we see the words: TEND YOUR GARDEN.

CAPTION (OWEN)

Tend my garden … A quiet, perfect life was never good enough for me, but when I left Barrel Arbor as a young man, I think I was looking for the wrong thing.

PANEL 2

Owen sits on a bench, writing in his journal. He is next to a sundial.

CAPTION (OWEN)

I have lived so much, and I wish that I could live it all again. I am writing these memoirs so all my grandchildren can read them … or ignore them, as they will.

CAPTION (OWEN)

A long time ago, I went back to Barrel Arbor, but it was no longer my home. I was pleased, though, to learn that my father spent many an evening in the Tick Tock Tavern telling others about my adventures!

PANEL 3

Old Owen is standing at the edge of his garden, next to a weathered statue of an angel.

CAPTION (OWEN)

I did stay with the carnival for years. I was their juggler … and Francesca’s husband … and that was just the start.

PANEL 4

Owen kneels down by a row of colorful gladiolas that are in full bloom, and he cuts one stalk.

CAPTION (OWEN)

The seasons pass. I get older. And the hours tick away.

CAPTION (OWEN)

I have a family, I found my treasures, and I earned a treasure worth more than all the Watchmaker’s gold.

PANEL 5

Carrying his flowers, Owen goes to the practice field where temporary carnival tents have been set up. Young performers are on the tightropes and trapeze; two of the grandchildren (from the first two pages of issue 1) are standing together, trying to juggle. And Francesca is there, older but still beautiful, watching the activity. He extends the flowers to her.

CAPTION (OWEN)

Love and respect. At the end of all the adventures, what matters more than that?

OWEN

Francesca, my love—these are for you. From my garden.

END

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About the Authors

Kevin J. Anderson is a bestselling science fiction author of over 125 novels, including numerous books in the Dune, Star Wars, X-Files, Superman and Batman universes. His original work includes the Saga of Seven Suns series, the Dan Shamble, Zombie PI series, the Terra Incognita trilogy, the Hellhole trilogy (with Brian Herbert), and the Saga of Shadows. He has written comics for Marvel, DC, IDW, Dark Horse, BOOM! Studios, and others. His first novel, Resurrection, Inc., was inspired by the Rush album Grace Under Pressure.

Neil Peart is the drummer and lyricist for the rock group Rush and the author of Far and Near, Ghost Rider, Roadshow, The Masked Rider, Traveling Music, and Far and Away.

Anderson and Peart are working on a companion novel Clockwork Lives.

***