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Page 2 - Click on page above to goto the next page. -- First Seen: 2009-09-08

Phoebus Krumm is complete. Read the entire epic story here!


The Transcript For This Page

PANEL ONE (upper half of page)

A fairly busy commercial city street bordering on the palatially
residential. The background is formed by an immense three-story
building that an enlightened reader would recognize as English
Baroque. It has two large wings under separate peaked roofs of tile or
slate.

In the street, we see various conveyances much like automobiles,
large and small, open and closed, but without wheels. The machines
hover from a foot to a yard above the street, which is paved with
cobblestones.

On the sidewalks, there are people of both sexes in various sizes,
weights, and ages. Their clothing is a cross between Elizabethan and
Victorian. Many of them wear character masks. There are also a couple
of aliens. A 'stiqueman' strides along on impossibly long, thin legs.
A 'flatsy' looks like a flatworm that is rearing up -- except that
it's four feet tall.

Note that all women in this culture are considered a commodity, an
economic and political asset. As such, they are at all times on
display. Their hair is worn up and back, to show their faces, necks,
and shoulders. Their full, flouncy dresses have square-cut necklines
that expose the breasts very nearly to the nipple, confined in pushup,
push-together bras that make them look hot, ripe, and ready to
explode. The skirts, while full, are scalloped upward and held back
like curtains in the immediate front and rear to expose an occasional
flash of pale flesh.

No female goes anywhere without a male escort. Those who are
married, engaged, indentured, or enslaved (only we don't call it that)
wear 'emzeebees': gold or silver bracelets perhaps a quarter of an
inch wide, connected by a fine chain about eighteen inches long. In
this culture of arranged marriages, occasionally a reluctant bride
will misbehave, in which case her wrists are fastened -- with a much
shorter chain -- behind her back.

In the immediate foreground, almost as if he's leaning against the
left side of the panel, a figure observes the street scene. He is
below average height, slight and very wiry in build. Appearing to be
in his forties, he looks something like Fred Astaire or David Niven.
He is dressed in very simple clothing: off-white canvas pants above
soft, supple boots, and what looks like a light peacoat. His hair --
receding in the front -- is close-cropped.

He appears to be smoking something that resembles a pipe without a
bowl. Please not the distinction: Hanover II is the planet; New
Hanover is the city that covers it almost completely.

Narrative (upper lefthand corner): 'It was a wealthy thoroughfare in
New Hanover, the capitol city.'

Narrative (lower righthand corner): 'I was keeping an eye on Frantisek
Demondion-Echeverria, Ambassador of the Jendyne Empery-Cirot ... '

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PANEL TWO (lower lefthand quarter of page)

Centers on the door of the building, perhaps ten feet away, being
opened by a supercilious, slightly overweight, middle-aged male
servant in 18th century livery, a powdered wig, and white gloves.
There is a small, discreet brass plaque on the exterior to the right
of the door that we can't quite make out.

Servant (with nose in air): 'Welcome back, Ambassador ... '

Voice (from outside the panel): 'Not a moment too soon for my taste!
Is Captain Krumm receiving visitors?'

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PANEL THREE (lower righthand quarter of page)

Almost the same picture, but from closer, and a bit to the right.
The servant holding the door is in the background. There's a tall
figure in the middle ground we can only see from the back. His dark
hair is held back in a ribbon. The door isn't shut but he's already
shrugging out of his coat.

To the right we can now see the plaque, which reads:

The Immortal School
Initiates and Guests

Servant: 'I shall inquire, Ambassador.'

Figure: 'Kindly do, Maytag.'