Thanksgiving

A clock sits on a bedside cabinet. The cabinet surface is chipped and scratched. Light falls on it through thin curtains (which we may not see in this panel but I'm mentioning for future reference). It's the kind of small travel clock that folds away into its own case -- and it has hands, it's not digital. The time is one minute to six.

1. CAPTION (JAMES's JOURNAL):

Thursday 27 November 2014.

Close-up of JAMES's sleeping face, lying on the pillow in the same room.

2. CAPTION (JAMES's JOURNAL):

The morning after the end of the world.

Back to the clock. The big hand has ticked over to the "12". It's six o'clock.

3. CAPTION (JAMES's JOURNAL):

Oh-six-hundred.

Back to JAMES, whose eyes are now open.

4. CAPTION (JAMES's JOURNAL):

Time to get up.

In a wide view of what we can now tell is a cheap motel room, we see JAMES throwing back the covers (he's wearing shorts) and leaping out of bed. We can also see the SHIELD in this view -- it's leaning against the side of the bed.

No dialogue.

JAMES is on the floor (still just in shorts), bed and SHIELD in the background, doing push-ups.

1. JAMES:

One.

2. CAPTION (JAMES's JOURNAL):

It was probably the toughest fight we've ever had.

Cut to a different scene. It's a flashback to immediately after the fight last issue -- in fact, a reprise of the last few panels. JAMES stands at the edge of the pit in which the main battle took place. He's looking down at a scene of cracked and torn-up concrete and twisted metal. In the centre of it, SARA lies face down, motionless, the SHIELD next to her.

3. JAMES:

Sara!

4. CAPTION (JAMES's JOURNAL):

And the brunt of it fell on the rest of the team.

JAMES is leaping down into the pit.

No dialogue.

JAMES kneels by SARA and gently rolls her over. Her eyes are closed.

5. JAMES:

Sara?

Her eyes are open and she smiles up at him.

6. SARA:

Good throw.

7. JAMES:

Nah... just lucky.

Back to JAMES in the motel room, still doing push ups.

1. JAMES:

Eight.

2. CAPTION (JAMES's JOURNAL):

I really think we were lucky. We certainly didn't win through superior tactics.

3. CAPTION (JAMES's JOURNAL):

Which is my fault.

Back in the flashback. JAMES is pulling SARA to her feet, looking around as he does so.

4. JAMES:

Everybody else ok?

CHI-YUN and JEROME are off near one wall, picking themselves up off the ground.

5. JEROME:

Aye. Battered but unbroken.

6. CHI-YUN:

I'm—

7. CHI-YUN:

No, I can't even think of a joke.

8. FRED (off-panel, from above):

Thank God for that.

Back to SARA and JAMES, who are both looking at where the SHIELD lies on the ground.

9. SARA:

Are you going to pick it up?

10. JAMES:

I—

JAMES in the motel room, push ups again.

1. JAMES:

Eighteen.

2. CAPTION (JAMES's JOURNAL):

So it turns out that I had never really carried my father's Shield. Well, I had carried one of his shields, but not the Shield.

Back in the flashback, JAMES looks down at the SHIELD.

3. CAPTION (JAMES's JOURNAL):

I think, somehow, I had always guessed that. Even though my father's journals didn't say what had happened to it, I didn't understand how it could exist in the post-Event world.

JAMES carefully lifts the SHIELD from the ground.

4. CAPTION (JAMES's JOURNAL):

That's because it didn't exist here. It was hidden in a place outside the universe.

5. CAPTION (JAMES's JOURNAL):

Waiting for somebody to need it again.

JAMES slips his arm through the straps of the SHIELD.

6. CAPTION (JAMES's JOURNAL):

It's funny, it didn't feel any different to the other one. I thought it would — I don't know — feel magical.

Back to the push-ups in the motel room.

1. JAMES:

Twenty-four.

2. CAPTION (JAMES's JOURNAL):

But I knew it had to be put back. It's too dangerous to leave in this universe.

Back at ASTRA's house, our POV is from the inside as ASTRA leads the group in through the front door. They all look tired and subdued. We can tell it's still night by the way the curtains are closed and it's dark outside the door.

2. CAPTION (JAMES's JOURNAL):

So back at Astra's—

3. ASTRA:

Make yourselves at home. Use the shower, raid the refrigerator, whatever you need.

4. ASTRA:

Try not to wake my husband.

JAMES stops ASTRA at her study door. None of the others are around. He holds out the SHIELD.

5. JAMES:

Can I trade this back for something—

6. ASTRA:

Safer?

7. JAMES:

More comfortable.

ASTRA has the SHIELD and is opening the door.

8. ASTRA:

Give me a minute.

Back to the push-ups in the motel room.

1. JAMES:

Thirty-two.

2. CAPTION (JAMES's JOURNAL):

I don't know how my father coped with the responsibility of carrying it for so many years. I know I wouldn't be able to.

Astra is standing in her study (we saw this room in ISSUE 32). The SHIELD is lying flat on the desk, its silver pentagram emblem clearly visible to us. ASTRA looks down at it pensively.

3. CAPTION (JAMES's JOURNAL):

And I don't know how Astra copes with the responsibility of being the only person who can bring it back when it's needed.

Astra is still in the study, but now not looking at the SHIELD. She's gazing straight ahead, at nothing in particular, frowning, and pushing a hand through her hair in a distracted kind of way.

4. CAPTION (JAMES's JOURNAL):

How do you make those kind of decisions?

ASTRA is reaching down to pick up the SHIELD.

5. ASTRA:

Sorry, James. It belongs with Major Democracy.

ASTRA has stepped out of the study, to where JAMES still lurks in the hall. She is handing him the SHIELD. It looks identical to the SHIELD she carried into the room, obviously.

6. CAPTION (JAMES's JOURNAL):

I don't need infinite power in my hands.

Motel room. Push-ups.

1. JAMES:

Thirty-seven.

2. CAPTION (JAMES's JOURNAL):

Just confidence in my own abilities.

Back in ASTRA's living room, JAMES, FRED, and SARA stand close together, talking privately.

3. CAPTION (JAMES's JOURNAL):

And in those of my friends.

4. SARA:

We can't stay here. It's not fair on her. Her husband—

5. FRED:

Especially since we flew across the country. They will be tracking us here.

6. JAMES:

I know. We should get as far out of L.A. as we can. I'll call a cab. Tell the others.

JAMES, FRED, SARA, CHI-YUN, and JEROME are walking down ASTRA's front path towards a waiting taxi (obviously a pretty big taxi, to fit them all in. We can see the first hint of dawn in the sky. They've changed (i.e. JAMES is no longer in costume) and are carrying the hand luggage they arrived with just a few hours ago (i.e. at the end of ISSUE 32). JAMES lags a few steps behind the others and has turned back to where ASTRA stands by her front door.

7. JAMES:

Thank you, Astra.

8. ASTRA:

I couldn't have done anything without your team. Thank you, Major Democracy.

Close-up on just JAMES and ASTRA. He's frowning.

9. JAMES:

I'm not ready to use that name.

Still focusing on JAMES and ASTRA as he turns from her and walks down the path.

10. ASTRA (softly):

Yes you are.

JAMES. How many push-ups can he do???

1. JAMES:

Forty-six.

A wider view of JAMES's room, to include the door. Yes, he's STILL doing his push-ups.

2. JAMES:

Forty-seven.

3. JAMES:

Forty-eight.

4. JAMES:

Forty-nine.

5. SFX (door):

THUD THUD

6. JAMES:

Fifty!

7. VOICE (through door):

Taxi's here, you lazy—

Outside. It's shortly after dawn and SARA, dressed and ready to travel, stands by the door of a motel cabin. In the background we can see a taxi in the motel's parking lot (not the same as they used yesterday, but a similar size). CHI-YUN stands by SARA and PAUL is walking over -- yes, it's PAUL, JEROME has reverted to his "core" personality. I'll try to make that obvious in the dialogue.

8. VOICE (through door):

Five minutes, Sara!

9. PAUL:

I'm going to kill Jerome.

10. SARA:

Paul?

Close-up on PAUL, looking displeased.

11. PAUL:

He woke up at five-thirty, stood under a cold shower, and turned over control to me.

12. PAUL:

And I seem to be a mass of bruises.

SARA and CHI-YUN are trying not to laugh.

1. SARA:

I'm sure he thought it would be good for you.

2. PAUL:

Whose stupid idea was it to start this early?

As if on cue, the cabin door opens and JAMES stands there, dressed (not in his costume) and looking fresh and alert.

3. JAMES:

Early? It would be 9.15am if we were still in New York.

4. JAMES:

Where's Fred?

CHI-YUN points off towards another cabin.

5. CHI-YUN:

I stood outside his door and made rooster noises.

6. JAMES:

And?

7. CHI-YUN:

I just got mental images of chicken hawks.

JAMES is heading towards the cabin CHI-YUN indicated.

8. JAMES:

<sigh>

9. PAUL:

Hey! What about breakfast?

10. JAMES:

<sigh>

Everybody is now assembled and in the process of getting into the waiting taxi. JAMES is bending down to talk through the driver's window.

11. CAPTION (JAMES's JOURNAL):

Much, much later...

12. JAMES:

Take the road towards Bakersfield. We'll tell you when to let us off.

The apartment of MIKE DOYLE, which we saw in ISSUE 30 PAGE 5. DOYLE is here, sitting at the untidy table and talking on the phone.

1. CAPTION:

Interlude

2. CAPTION:

Washington DC.

3. DOYLE:

Five of them, Trenton to L.A.X.? Yeah, that fits. Good work. I owe you a big one.

4. CAPTION:

Federal bounty hunter Mike Doyle.

DOYLE has the phone wedged under his chin while he scribbles notes on a pad.

5. DOYLE:

I need to get to LA quickly. Can you swing me a seat?

6. DOYLE:

Today?

DOYLE has moved a pile of junk from in front of a desk calendar, which shows the month of November 2014.

7. DOYLE:

Today's what? Damn it, you're right.

8. DOYLE (softly):

That's perfect for me. I know exactly where they'll be.

9. DOYLE:

Huh? Oh, nuthin'.

10. DOYLE:

Listen, I don't care how you have to do it, but get me a seat to LA and I'll double what I'm paying you.

DOYLE looks across the apartment to where his pump-action shotgun lies on the bed.

11. DOYLE:

Oh—

12. DOYLE:

And I'll be carrying firearms. Get me clearance.

The taxi is driving down the road, heading roughly north (as alert readers may determine from the position of the shadows -- it's mid-morning and the Sun is in the east). They are passing a painted sign with a big arrow:

LUEY'S PLACE
FIRST LEFT 100m
GAS! SUPLIES! [sic] FOOD

Note: see ISSUE THREE for details of LUEY'S PLACE.

No dialogue.

The taxi has stopped at a junction where an unpaved road leads off through the trees. The group is climbing out.

No dialogue.

They have obviously walked down the unpaved road, because they are now standing in front of LUEY's garage and store. It looks basically the same as the last time they were here, way back in ISSUE 3. But off to one side is parked the familiar green bulk of a massive recreational vehicle (RV).

No dialogue.

LUEY, looking basically the same as when we first saw him back in ISSUE 3, is emerging from his store and waving at them as they cross the forecourt towards him.

1. LUEY:

Hey, guys! How's the hero business?

2. PAUL:

Painful.

JAMES and LUEY look at the RV (which we see in the background of this POV). JAMES gestures at it.

1. JAMES:

Is it ready?

2. LUEY:

Ready as she'll ever be. Try not to drive her into any more rivers.

3. JAMES:

I'll keep that in mind.

4. SARA (off-panel):

Do I smell pancakes?

LUEY has turned to look at SARA (which is how readers can tell it was her speaking off-panel).

5. LUEY:

Sure, in back. Help yourselves.

6. SARA:

Great!

7. LUEY:

And help yourselves to anything you need in the store. Just leave me a note of what it is.

JAMES shakes LUEY's hand.

8. JAMES:

Thanks, Luey.

9. LUEY:

Don't thank me, thank Don's credit line!

They are in the RV. JAMES in the driving seat, SARA next to him, the others in the back but crowded forwards to look over the front seats. The door is open and LUEY stands outside, looking up at them.

1. LUEY:

Where are you headed now?.

2. JAMES:

Don't know. We've been north and east, how about—

3. SARA:

South?

LUEY is stepping back and waving as the door swings shut.

4. LUEY:

Thought you might head back to L.A.—

5. JAMES:

It's too dangerous for us.

6. LUEY:

—For Thanksgiving.

Inside the RV JAMES sits with his hands on the steering wheel. Our POV is from in front of him so he's looking right at us. His expression is mixed surprise and worry.

7. JAMES (softly):

Oh.

Small close-up of part of the vehicle's instrument panel -- the display that says "THU 27 NOV 11:39am".

8. CAPTION (JAMES's JOURNAL):

In all the chaos, I lost track of the date.

Back to a front-face view of JAMES, looking indecisive. CHI-YUN stands just behind his right shoulder, looking sad.

9. CAPTION (JAMES's JOURNAL):

I've never missed Thanksgiving with my family.

10. CHI-YUN:

I hoped I would be able to visit Grandfather.

The RV pulls away and on to the access road. Although this is an exterior view, the position of the caption (coming from the front left) should make it obvious that JAMES is speaking.

1. JAMES:

Anyone that isn't coming back to Los Angeles, speak up now.

The RV turns off the access road and onto the highway (turning left).

No dialogue.

A close up of a hand (SARA's) reaching forward to touch a control on the dash.

2. SFX:

click

The RV on the road, passing a sign that reads "LOS ANGELES 81 MILES"

3. MUSIC (from vehicle):

At the copa — copa cabana

It drives away from our POV, into the distance.

4. MUSIC (from vehicle):

The hottest spot North of Havana—

5. TWO VOICES (from vehicle):

The hottest spot North of Havana—

6. VOICE (from vehicle):

Oh my God. Bring the demon back, please!

The RV driving down a city street -- it's LOS ANGELES. The time is early afternoon. The speech caption comes from the driver's position.

1. JAMES (from vehicle):

I'll let you off wherever you want. Everybody call in regularly and keep an eye open for Krai — or anything.

A close-up view of the top of the vehicle. We can see that the top hatch is being opened (from inside).

2. JAMES (from vehicle):

We'll meet up again at — ok, at this mall — on Sunday at —

Same view of the top of the vehicle. A small bird -- something like a pigeon -- flies up and out of the hatch..

3. JAMES (from vehicle):

—Noon, Chi-Yun

The interior of the RV. JAMES, from the driver's seat, is looking back into the body of the vehicle with a resigned look on his face. PAUL and FRED are back there (SARA is next to JAMES).

4. JAMES:

Did she at least take a phone?

5. FRED:

You're kidding? That would have been sensible!

6. JAMES (softly):

sigh

7. JAMES:

Ok, where can I drop you guys?

The RV has stopped outside an apartment block. A nice neighbourhood -- the sort of place a high-income, unmarried professional like PAUL could afford. PAUL is leaving the vehicle, a travelling bag over his shoulder.

1. CAPTION (voice-over):

"Paul?"

2. CAPTION (voice-over):

"My apartment. I'll probably spend the weekend shredding six weeks of junk mail.

The RV has stopped in another part of the city, by an open park-like space dotted with groups of young people sitting around and reading, eating, etc. FRED is stepping out (he carries no luggage).

3. CAPTION (voice-over):

"Fred?"

4. CAPTION (voice-over):

"Somewhere on the USC campus. There'll be a party somewhere that I can crash."

Interior view of the RV. JAMES and SARA are still in the front.

5. JAMES:

Sara? I can drop you back at the Boulevard Club, or—?

6. SARA:

No—Just here will be fine.

7. JAMES:

Here?

The RV has pulled up on a busy shopping street. SARA is climbing out. JAMES watches her, puzzled.

8. JAMES:

Here? You're sure?

9. SARA:

Yes, sure. Have a good weekend, James.

The RV pulls away, leaving SARA on the sidewalk, looking in the window of an expensive clothing boutique.

No dialogue.

From inside the RV, we can see JAMES looking sideways at his passenger-side rear-view mirror -- the one that gives him a view of the sidewalk. In the mirror, we can see SARA still standing and looking in the shop window. JAMES frowns. (No, I can't figure what POV would let us see all that, but I'm sure it's possible.)

1. JAMES:

Oh, heck.

The RV is making a right turn.

2. CAPTION (JAMES's JOURNAL):

I am so dense.

Back on the sidewalk, we see SARA is still looking in the window. But now the window shows a reflection of the RV, which has obviously pulled up behind her.

3. JAMES (off-panel):

Hey!

SARA has turned to look at the RV. We see JAMES has the passenger door open and is leaning across to talk to her.

4. JAMES:

You know, my Mom always makes too much food at Thanksgiving.

Close up of SARA, as she smiles...

No dialogue.

The RV is pulling up outside a modest house in a smart but ordinary suburban neighbourhood. The house is in good repair, there's a water sprinkler on the front lawn, and a practical family car on the drive. It all looks very... suburban.

1. JAMES (from vehicle):

This is it.

2. SARA (from vehicle):

I thought it would be more—

3. SARA (from vehicle):

—Uh, never mind.

They are walking up the path. Note that they have left their luggage in the vehicle but JAMES has the big flat case that carries his SHIELD.

4. JAMES:

I know, it's not quite what you're used to.

5. SARA:

No, no. It looks very—nice.

They stand at the door. JAMES is pressing the bell.

6. SFX:

BING-BONG!

7. JAMES:

I've got a key but I don't want to barge in.

8. SARA:

Are they expecting you?

9. JAMES:

Of course. It's Thanksgiving.

The door is opened by JOE THURSDAY. There should be an obvious family similarity to JAMES but JOE is older (duh!), in his mid-to-late-50s. He doesn't have JAMES's physique but there are probably hints that he used to be a big, powerful guy. Now, however, he has a I'll-have-one-extra-slice-of-dessert-please look about him. Not unfit but... "comfortable". His hair is short and has more grey than brown. His face looks like it smiles a lot -- and in fact it's smiling now. He's dressed casually.

10. JAMES:

Hi, Dad.

JOE remains remarkably unfazed by JAMES turning up. He just regards the pair on his doorstep.

1. JOE:

Welcome home, son.

2. JOE:

Your mother's been expecting you.

Close-up on JAMES, who looks suddenly worried.

3. JAMES:

Is she—?

4. JOE (off-panel):

She's fine.

5. JOE (off-panel):

She knew you'd be back.

6. JOE (off-panel):

But you'd best go and say hi. She's in the kitchen.

In the living room. It's a spacious, nicely-furnished, middle-class house. Some ornaments on shelves, a big flat-screen TV, some sporting trophies in a glass case. Probably some family photos. No evidence that anybody other than JAMES and his parents live here (because I just realised I've never specified whether he had brothers and sisters -- well, he doesn't). We don't need to show lots of detail at this point (this won't be a big panel) because we can fill in more as we spend more time in the house.

JAMES is near a door (into the kitchen, we can assume) with his hand on the handle, ready to open it. His other hand is carefully setting down his "shield case", leaning it against the wall. SARA and JOE stand further back, in the centre of the room. SARA is looking around at her surroundings.

7. SFX (JAMES):

sniff sniff

JAMES enters the kitchen (the door is swinging shut behind him). We see MARTHA THURSDAY -- his mother. She's a similar age to JOE, attractive, hair kept short and neat, small build. Her back is to JAMES but she's facing us in this POV. She's wearing an apron and she holds a shallow glass pie dish with an uncooked pie in it.

8. JAMES:

Dinner smells good, Mom.

MRS THURSDAY has turned to see her son. Her eyes are wide with surprise. The pie dish is dropping from her fingers.

9. MARTHA:

<gasp>

Close up on JAMES's hands catching the pie dish a few inches above the floor.

10. JAMES:

Is that any way to treat my first real apple pie in ten weeks?

Back in the living room. JOE looks curiously at SARA, while she looks down at the ground. She's actually blushing a little.

1. SHOUT (from kitchen door):

JAMES!

2. JOE:

Pardon my manners, but do I know you?

3. SARA:

I guess you knew my mother.

She looks up at JOE, a little more confidently now.

4. SARA:

I'm Sara. Me and James have been—

5. SARA:

—Traveling together.

JOE, smiling, holds out his hand to SARA.

6. JOE:

Nice to meet you, Sara. Call me Joe.

7. SARA:

Joe?

This probably needs to be the dominant panel on the page to fit in all the detail.

SARA has turned her head and is looking at a side table. This panel's perspective should allow us to see both her worried expression and the details of the items she's looking at. First is a photograph of a man who is obviously JOE but several years younger (and the resemblance to JAMES might be more obvious). It's a posed portrait and he is in the uniform of a Los Angeles Police Department officer with sergeant's insignia. The second item is a framed certificate. We don't need to read the fine print but it's issued by the LAPD to SERGEANT JOE THURSDAY for DISTINGUISHED SERVICE.

8. SARA (softly):

Oh no.

They are interrupted by the return of JAMES from the kitchen. His mother is with him. She is crying (dabbing her eyes with a handkerchief) but looks happy.

1. JAMES:

Mom, Dad, there's something I need to tell you.

2. SARA (softly):

James—

Close-up on JAMES as he begins to unbutton his shirt, revealing the black costume beneath.

3. JAMES:

There isn't really a good time to do this.

4. JAMES:

But you deserve to know where I've been for the last ten weeks.

His shirt is now off and he's pulling a gauntlet onto one hand. (I'm not sure if I've mentioned where he conceals these: they're thin, lightweight spider-silk, same as the rest of his costume, and tuck into his costume's belt under his street clothes. That might not be relevant for this panel, but for future reference.)

5. JAMES:

And I don't want it to hang over us all through dinner.

6. JAMES:

But, Dad, as you probably guessed—

He has both gloves on and is pulling his face-concealing cowl up from where it tucks into the neck of his costume.

7. JAMES:

I found your old costume.

He's unzipping the case that holds his SHIELD and removing the SHIELD from it.

8. JAMES:

And took up your role as Major Democracy.

View of JOE and MARTHA THURSDAY's reactions. They are shocked, incredulous.

9. JOE:

Son—

Big splash panel of JAMES in full costume. He's an imposing figure -- but the shock and disbelief on his parents' faces in the last panel was nothing compared with his now.

1. JOE (off-panel):

—I was never Major Democracy!