Page 1, 1 Panel
Panel 1
An old style ranch house in front of vast fields of wheat, stretching out as far as the eye can see. Used Parts logo top-left, title and credits bottom right.
CAP1: EVERYONE HAD SOMETHING TO PEDDLE:
CAP2: CRACK, SMACK, BLACKJACK: DESIGNER HIGHS WITH KILLER EFFECTS.
CAP3: A LITTLE HUNK OF ECSTASY IN EASY-TO-SWALLOW-PILL FORM.
CAP4: A LITTLE HUNK OF LOVING AND A LARGE BITE OF LUST.
CAP4: OLD BOOKS, NEW BOOKS, THE GOOD BOOK -- BOOKS TO REMEMBER, BOOKS TO FORGET, BOOKS TO HELP YOU FORGET.
CAP5: OLD GODS, NEW GOODS, DESIGNER DEITIES -- A BELIEF A DAY TO KEEP THE PREACHERS AT BAY.
CAP6: NOT TO MENTION: TRUTH, JUSTICE AND THE AMERICAN WAY.
CAP7: ONE FOR MOTHER, ONE FOR THE COUNTRY AND PASS THE APPLE PIE, PA, I’M OFF TO WAR.
CAP8: BE SURE TO TELL UNCLE SAM I SAID HIGH, SON.

Page 2, 6 Panels
Panel 1
The fields seen from the porch, where a young girl is playing with a doll.
CAP: EXCEPT, WHEN IT CAME DOWN TO IT, THEY WERE ALL OFFERING THE SAME THING.

Panel 2
The girl looks out towards the fields, the wind pushing back her hair.
CAP: A PROMISE, A HOPE: A LITTLE BIT OF FREEDOM.

Panel 3
The girl tilts her head back to see three planes high above her in the sky.
CAP: AN IDEA THAT JUST MAYBE, FOR THE MOMENT WE CAN ESCAPE THE CONFINES OF WHO WE ARE --

Panel 4
Seen from above, the three fighter-jets fly high above the fields, the ranch house just a speck below.
CAP: -- WHAT WE DO --

Panel 5
In the cockpit of the front fighter, the pilot looks down.
CAP: -- AND SOAR, FREE.

Panel 6
The bottom of the plane opens.

Page 3, 7 Panels
Panel 1
The bombs tumble slowly towards the ground.

Panel 2
The planes, high in the sky, are little more than large dots flying away from a shower of smaller specks.

Panel 3
An aerial view of the ranch: parts explode as they are struck.

Panel 4
The young girl, leaning over the arm of someone carrying her, arms reaching out, crying.

Panel 5
The doll, left lying on the porch.

Panel 6
Close up on a bomb falling between two rising clouds of smoke as other bombs fall around it.

Panel 7
Close up on the face of the young girl.

Page 4, 2 Panels
Panel 1 (inset in 2)
The face of a woman; though a good thirty years older she should still be recognizable as the little girl.

Panel 2
A bedroom; the woman is in the bed, lying straight, legs together, arms at her sides. She’s mostly under the covers but she’s wearing a plain white nightdress. Nothing too fancy. There is a man in the bed, lying next to her but facing away. One of his arms is lying across her stomach. The room is meticulously neat, very few ornaments. There is a half-open window on her right.
CAP1: AND IT ALL FADES. THE TOUCH. THE LOOK. THE MOMENT. FADES AWAY. THE ALARM RINGS. THE FLOWERS WITHER. TIME MARCHES ON.
CAP2: AND THERE IS NO ESCAPE, EVEN IN DREAMS.

Page 5, 5 Panels
Panel 1
From the side, we see as she turns towards us and away from the man, though his arm remains across her. Her head is rested on her hands, held together as if she is praying.

Panel 2
From her point of view, we see the dresser, on which is a photo. She is in it, standing next to a man in a suit holding a young boy in his arms. She is in a summer dress, wearing a hat. We can’t see the man’s face because another, newer photo has been placed in the frame; it’s a portrait shot of the man in the bed next to her.

Panel 3
Her arm reaches out to touch the photo. She is wearing a plain wedding band.

Panel 4
Close up of her fingers on the photo, touching the boy.

Panel 5
Wide shot; dressed as in the photo, the woman runs, one hand holding her hat down, the other holding her skirts out of the way of her feet. She’s outside; in the distance, the boy is flying a kite. With him is the man still dressed in a suit but now without the jacket or tie, his collar undone and his sleeves rolled up.

Page 6, 6 Panels
Panel 1
Close in on the head of the woman, again in the bed, once more facing straight up.

Panel 2
Looking across the bed, we get our first clear view of the man in the bed. The woman is behind him, her head turned towards him and us.

Panel 3
The woman, back in her summer dress, leaping into the arms of the suited man.

Panel 4
Close in as they kiss under the shadow of the hat she is still keeping on with one hand, and we note that this is not the man in the bed.

Panel 5
The woman stands on the left, laughing. The man, beside her, is starting to reach down for the boy who has run up, kite in hand.

Panel 6
From behind the woman, looking at the man who also has his back to us. He is framed by the sunlight, making him hard to see.

Page 7, 6 Panels
Panel 1
The same shot, but now the man is wearing an army uniform.

Panel 2
Establishing shot; she’s standing on the platform of a railway station, the boy in her arms, his head buried in her shoulder.

Panel 3
The man, waving from the train window. The carriage is full of similar army grunts.

Panel 4
She raises her arm, half-heartedly.

Panel 5
Wide shot; standing on platform, her arm has fallen. The other people on the platform are blurred as if moving fast.

Panel 6
Close up on her face, head bowed, eyes closed.

Page 8, 6 Panels
Panel 1
As previous panel, except now she’s wearing a waitress uniform including one of those stupid shaped hats they have in fast food places; it, like her dress (when we eventually see it) is pink and completely tasteless.
MIR(op): ...SUE?

Panel 2
Seen from outside the window looking in, we see a booth in a tatty diner. Around the table are sat three late middle aged women, all holding cigarettes. The first and youngest of the three is Estelle, an aristocratic blonde, looking as if she just stepped out of ‘40s movie, all prim, proper, smart and tasteful. The second, Miriam is verging on overweight, casual without being overtly scruffy. The third and eldest, Janet, is the only one actually taking a drag on her cigarette; she’s dressed somewhere between the other two women but her clothes are almost funeral dark. The woman -- Susie -- is standing, in her waitress outfit, behind the table. The name of the diner -- Stacey’s Diner -- is engraved on the glass.
EST: YOU WITH US, SUSIE?
SUE: I... I’M... I’M SORRY. WHAT WAS IT YOU--?
JAN: ANOTHER POT DEAR. I THINK YOU COULD DO WITH A CUPPA, YOURSELF.

Panel 3
Miriam, waving expansively, Estelle, disapproving.
MIR: WHAT SHE REALLY NEEDS IS A GOOD...
EST: MIRIAM...

Panel 4
Miriam, leaning forward as if speaking in confidence.
MIR: I’M JUST SAYING, EVERY WOMAN OVER TWENTY-ONE SHOULD KEEP A LARGE CUCUMBER HANDY--

Panel 5
Estelle, shocked, Susie blushing and Janet laughing.
EST: MIRIAM!

Panel 6
Miriam, leaning back and blowing smoke.
MIR: NEEDS MUST BE SATISFIED.

Page 9, 6 Panels
Panel 1
Wide view of the table, looking towards Susie. Behind her, above the counter is a TV set. Estelle and Miriam are looking towards each other. Janet is looking towards Susie.
EST: WELL, I NEVER!
MIR: THAT DOESN’T SURPRISE ME.
JAN: NEVER MIND THEM, DEAR. TELL ME, YOUR HUSBAND -- HAS THERE BEEN ANY NEWS?

Panel 2
Head shot of Susie and, past her, the TV screen, where an announcer is sat behind a desk.
SUE: NEWS?
TV: ...DIE IN THE WAKE OF UNEXPECTED TRAGEDY --

Panel 3
Close in on the TV screen.
SUE(op): NO. NO NEWS.
TV: -- AS THE NEW ARMY OVERWHELMS GOVERNMENT FORCES AND SWEEP INTO NORTHERN CALIFORNIA.
JAN(op): WE’RE ALL PRAYING FOR YOU...

Panel 4
A street scene, seen through lines and static.
TV(op): FIGHTING CONTINUES IN THE STREETS TONIGHT. PRESIDENT WILLIAM KAYE, SPEAKING AT A PRESS CONFERENCE EARLIER TODAY, SAID NO QUARTER WOULD BE GIVEN:

Panel 5
Soldiers, under heavy fire, fire back at an enemy we cannot see.
KAYE(op): "THEY EXPECT US TO GIVE UP EASILY. THEY EXPECT US TO BOW DOWN, TO ROLL OVER, TO PROSTRATE OURSELVES BEFORE THEIR BANNERS AND CRY ‘PEACE! NO MORE!’

Panel 6
Pick out one of the soldiers from the pervious panel and close in. It’s Susie’s husband, Greg.
KAYE(op): "THEY THINK WE ARE FOOLS, THAT THIS IS SOME SORT OF A GAME.

Page 10, 4 Panels
Panel 1
Greg, running.
KAYE(op): "WE WILL TEACH THEM DIFFERENTLY!

Panel 2
A gun barrel blazing.
KAYE(op): "WE WILL SHOW THEM OUR DIVINE RIGHTS OF VICTORY!

Panel 3
Greg’s blasted by guns.
KAYE(op): "WE SHALL TEACH THEM FEAR! WE SHALL TEACH THEM PAIN!

Panel 4
As two soldiers drag Greg backwards, other soldiers hold off the attack.
KAYE(op): "WE SHALL TEACH THAT WHAT IT MEANS TO FACE THE MIGHT OF A COUNTRY WITH GOD ON ITS SIDE. WE SHALL TEACH THEM THAT YOU DO NOT FUCK WITH THE US OF A!"

Page 11, 7 Panels
Panel 1
Hoisted over the shoulders of two other soldiers, Greg is carried into a camp.

Panel 2
Greg, lying on the ground, a real mess, his head lolling to one side.
KAYE(op): "GOD BLESS AMERICA."

Panel 3
Greg, his head tilted up towards us, seen through a pair of legs.

Panel 4
Looking past Greg’s head at a man silhouetted against the sun.
GREG: no...

Panel 5
The man kneels down next to Greg and we see that he is wearing an AmeriCorp uniform.
AC: DON’T THINK OF THIS AS AN ENDING.

Panel 6
Greg’s face, pleading.
GREG: PLEASE...

Panel 7
The AC guy’s smile.
AC: THINK OF IT AS YOUR TRANSFIGURATION.

Page 12, 9 Panels
Panel 1
Greg’s dog-tags, lying on his wallet, which is lying open and in a medical tray. Beneath the plastic window, which is splattered with blood, is a photo of Susie and the boy from before.

Panel 2
Susie in the photo, smiling.

Panel 3
Susie in the bed, staring straight up.

Panel 4
Close in on Susie’s eyes as she closes them.

Panel 5
A letter in her hand.

Panel 6
Even closer on her eyes as she opens them again.

Panel 8
Extreme close up of her eyes.

Panel 9
Extreme close up of the words "YOUR SON" on the letter.

Page 13, 7 Panel
Panel 1
A child’s book, open, lying on the floor, one page touched with blood.

Panel 2
A broken toy airplane, lying next to an outstretched hand.

Panel 3
An overturned lamp, still on, its cord lying under a foot.

Panel 4
The edge of a glass coffee table, smeared with blood.

Panel 5
Seen through the glass table, arms and legs akimbo, the boy’s body is visible indistinct.

Panel 6
Close up on the boy’s face -- Susie’s son -- a small trail of blood coming from one nostril.

Panel 7
Susie, clutching the boy in her arms, her head thrown back and screaming. She is wearing an evening gown and pearls. The man in the bed, Jack, is standing behind her (we can only see waist down) in his suit.

Page 14, 7 Panels
Panel 1
Jack looks down at Susie, impassive.

Panel 2
Jack standing at a bar.

Panel 3
Seen from behind the bar, past Jack, Susie at a table with some friends. She’s wearing the same evening gown/pearl combo she was before.

Panel 4
Seen past Susie, Jack standing in front of the table, one hand in his pocket.
JAC: DANCE WITH ME.

Panel 5
Greg, in a suit, standing where Jack was. One hand is pulling at his collar.
GRE: WOULD YOU, UM, LIKE TO, YOU KNOW, DANCE? PLEASE?

Panel 6
Arms-only shot: Susie taking Greg’s hand, which is held out towards her, palm upright.

Panel 7
Arms-only shot: Jack grasping Susie’s wrist and pulling.

Page 15, 5 Panels
Panel 1
Greg and Susie, dancing some distance apart, smiling.

Panel 2
Jack, pulling Susie in tight, one hand on her ass, the other on her back. He’s tilting her slightly back so she has to look up to meet his eyes.

Panel 3
He kisses her, hard.

Panel 4
Same shot, but she’s now in a wedding dress.

Panel 5
Shot of the church and the wedding party. Janet, Miriam and Estelle are sat together on the Bride’s side. There are few people in the church.

Page 16, 5 Panels
Panel 1
Close in on Janet and co.
JAN: HE’S NOT A PATCH ON GREG. SUCH A NICE BOY.

Panel 2
Janet, leaning in towards Miriam.
JAN: WHAT DOES SHE SEE IN HIM?

Panel 3
Miriam, leaning back.
MIR: NEEDS MUST BE SATISFIED.

Panel 4
Estelle, leaning in towards Miriam from the other side.
EST: SHUSH, YOU! THIS IS A PLACE OF WORSHIP!

Panel 5
The three turn to look as the bride and groom walk past the end of their pew.
EST: DOESN’T SHE LOOK BEAUTIFUL?

Page 17, 5 Panels
Panel 1
Head shot; Susie, on the bed, staring up into space again.
EST(op): "I ALWAYS CRY AT WEDDINGS."

Panel 2
Jack, hand raised in the beginning of a slap.
EST(op): "THEY’RE JUST SO..."

Panel 3
Susie as before, eyes now closed.

Panel 4
Jack, arm across his chest in the end of a slap.

Panel 5
Susie as before, head turned to one side, eyes open.

Page 18, 9 Panels
Panel 1
The dresser photo again.

Panel 2
The boy, dead.

Panel 3
Close in on the photo.

Panel 4
Her hands, clawing at the sheets.

Panel 5
Greg, being struck down by bullets.

Panel 6
The sheets, tightly wrapped around her fists.

Panel 7
Jack, his hand raised to slap her.

Panel 8
Her eyes clenched shut, teeth grit.

Panel 9
Black.

Page 19, 7 Panels
Panel 1
Extreme close up of an army uniform, mostly black.

Panel 2
Pull back to show it’s a uniform.

Panel 3
A parade is going on. Susie and Jack are in the crowd, near the front.

Panel 4
Susie, eyes widening.

Panel 5
Back to the parade, and among it Greg -- but he’s now a cyborg: the cyborg Leader of the Death Tech.

Panel 6
Susie, hands clasped across her mouth.

Panel 7
The Leader, waving happily.

Page 20, 5 Panels
Panel 1
From behind the Leader, we see Susie, running forward.

Panel 2
Arm -only shot: she grabs his arm.
SUE(op): GREG?

Panel 3
Side view; Susie, keeping a hold on the Leader as the crowd walks past, looks at the Leader looking at her.
SUE: GREG! IT’S ME!

Panel 4
Frontal shot; the Leader, looking blank.
LEA: WHO?

Panel 5
Susie, who is in shock.
LEA(op): DO I KNOW YOU?

Page 21, 5 Panels
Panel 1
The Leader, pulling away from her.
LEA: I’M SORRY, I HAVE TO GO.

Panel 2
Her hand on his arm.

Panel 3
Her hand and his arm, separated.

Panel 4
Just her hand.

Panel 5
Susie, some distance off into the crowd, mouth open silently, one arm out.

Page 22, 7 Panels
Panel 1
Jack, behind Susie.
JAC: SUSAN, WHAT ARE YOU DOING?

Panel 2
Jack, lying on the bed.

Panel 3
Susie beside him, eyes screwed shut.

Panel 4
The Leader, looking down towards us.
LEA: DO I KNOW YOU?

Panel 5
Miriam, leaning back.
MIR: NEEDS MUST BE SATISFIED.

Panel 6
Her son, dead.

Panel 7
Jack, his hand raised to hit her.

Page 23, 11 Panels
Panel 1
Jack, just standing there.
JACK: ARE YOU DOING?

Panel 2
The sheets, tightly wrapped around her fists.

Panel 3
The Leader, looking down towards us.
LEA: ...KNOW YOU?

Panel 4
Greg, being struck down by bullets.

Panel 5
Greg in a suit

Panel 6
Greg, reaching down.

Panel 7
Her son, holding a kite.

Panel 8
Her eyes, half closed.

Panel 9
Her hands, relaxed.

Panel 10
A medicine bottle, empty, falling.

Panel 11
Wide panel; the empty medicine bottle on the floor on the right of a mainly empty panel, the lid lying at its side.

Page 24, 4 Panels
Panel 1
Close up on the label on the bottle, the rest dark and hazy:
CAUTION! TAKE ONLY AS PRESCRIBED!

Panel 2
A dark, hazy panel.

Panel 3
A light hazy panel.