Some Assembly Required

A close up of a hand (JAMES's) casually tossing a softball into the air.

1. CAPTION:

Los Angeles.

Same view. The ball drops back down into his waiting hand.

2. SFX:

thwack

The hand tosses the ball into the air again.

3. CAPTION:

Thursday 27 November, 2014.

And catches it again.

4. SFX:

thwack

And throws it up again.

No dialogue.

And the waiting hand remains empty. The ball hasn't dropped again.

No dialogue.

Less of a close-up, so we can see JAMES's face as well as his hand. He's looking straight up, though this view doesn't show us what at.

5. CAPTION:

James Thursday.

Same view, JAMES still looking straight up.

6. SARA (off-panel, from above):

Penny for your thoughts?

Pull out some more so we can see SARA standing behind him, looking down at him (he's sitting), holding the ball.

7. CAPTION:

Sara Roth.

8. JAMES:

I was thinking that the Earth's gravity failing would be the least of this week's disasters.

In a full-page panel, SARA is now sitting next to JAMES. We can see more of the surroundings. It's the patio behind his parents' house, a raised paved area overlooking the lawn. They sit on the edge of the patio (or on the steps, or some other convenient feature). The patio has a couple of benches against the house wall, maybe a couple of tubs with flowers, a barbeque, and other such suburban things. It's a warm, sunny, fall evening in southern California. The rear of the house faces west so they are looking into the setting sun. Sara looks sideways at JAMES but he just gazes out over the lawn (which is towards our POV).

1. SARA:

Are you ok?

2. JAMES:

I don't know. I just found out that everything I thought about my father was wrong.

3. JAMES:

Mostly I just feel stupid. It's so obvious that Dad could never have been Major Democracy. All the discrepancies between the Major's journals and what I knew of my family history — it's...

4. JAMES:

I just didn't want to see the obvious.

5. JAMES:

I wanted him to be Major Democracy.

6. JAMES:

The world's greatest hero.

SARA hands the ball back to JAMES. Their eyes meet as their hands touch.

1. SARA:

You just found out your father's a regular guy. It could be worse. You could have learned that your mother's half demon.

2. JAMES:

Sara—

They still look at each other.

3. SARA:

Hey, it's ok. So my mother's fifty percent demon. I used to think she was a hundred percent bit—

4. JAMES:

Sara!

She looks away.

5. SARA:

It's ok. Really. I've always known it anyway. Kind of.

6. JAMES:

It's not what you are or where you came from that makes a hero. It's what you do.

7. VOICE (off-panel):

What's a man have to do to get some catching practice over here?

JAMES is on his feet and heading out onto the lawn.

8. JAMES:

Coming, Dad!

9. JAMES:

Sara?

10. SARA:

You go ahead. I'm too full of your Mom's apple pie. Hey—

JAMES pauses and looks back at SARA.

11. SARA:

Your Dad is a hero, you know.

JAMES smiles back at her.

12. JAMES:

I know.

SARA sits alone, looking out over the back yard.

1. VOICE #1 (off-panel):

Call that a throw? Who taught you to throw like that?

2. VOICE #2 (off-panel):

You did, sir.

3. VOICE #1 (off-panel):

I've seen trash-can lids thrown better than that!

4. SARA:

Yep.

MARTHA THURSDAY walks in to the kitchen to find JAMES pouring himself a glass of milk. It's later in the evening, as we might see from the darkness outside the window.

5. CAPTION:

Later.

6. MARTHA:

James! Should I make up the spare room for Sara?

7. JAMES:

I thought you said it was ok for her to stay for the weekend?

MARTHA is studiously not looking at her son.

8. MARTHA:

Well—I didn't know if she was going to need the spare room.

Close-up on JAMES looking puzzled.

9. JAMES:

Where else is she going to sleep?

Exterior view of the house.

10. VOICE (from house):

MOM!

JAMES and JOE sit together on the back patio benches. It's morning.

1. CAPTION:

Friday 28 November.

2. JAMES:

So I guess my note about "leaving to follow in your footsteps" made no sense?

3. JOE:

Honestly? We thought you were backpacking across the country. That's what I did at your age.

4. JOE:

Would have been nice if you could call your mother once in a while, though.

Close-up on JAMES, not looking happy.

5. JAMES:

I know. I should have done a lot of things differently. But things were out of control. We were—

6. JOE (off-panel):

Son, stop!

Now a close-up on JOE, who looks troubled.

7. JOE:

It's best if you don't tell me. I'm in an awkward spot here. A couple of weeks ago, I had a visitor...

A flashback panel. The transition should be obvious from the text, but if necessary some visual device (different panel borders, colour scheme, etc.) can be used to indicate it. It's in the THURSDAYS' living room. JOE is here and so is another woman -- FBI DIRECTOR STEPHANIE ELLIOT, who we last saw in ISSUE 29. He's dressed casually (scruffy, even, as though he's been doing some chores around the house), she is in a business suit and has a briefcase on her lap.

8. JOE:

I'm sorry to be blunt, ma'am, but what brings the Director of the FBI here? Am I in trouble?

9. ELLIOT:

Nothing of that nature, Mr. Thursday. Rather, I need your help.

Close-up of ELLIOT.

10. ELLIOT:

You are probably not aware — and this shouldn't leave this room — that emerging superhuman abilities have been reported across the United States.

11. ELLIOT:

Superpowers are coming back, Mr. Thursday. And I want to keep on top of it.

12. ELLIOT:

I'm establishing an independent commission to study the problem.

13. ELLIOT:

And I want you on it.

Cut back to James and JOE. JAMES looks slightly panicked.

1. JAMES:

Does she know about—

2. JOE:

You? No.

3. JAMES:

Then why pick on you?

Back to the flashback with JOE and ELLIOT.

4. ELLIOT:

Because LA was a superhero hotspot before the Event and you were in the thick of it. I need people who can bring different perspectives on the problem, and you saw it with a cop's eyes.

5. ELLIOT:

Plus you were James Lang's partner.

Back to today, and a close-up of JAMES looking surprised.

6. JAMES:

She knew that James Lang was Major Democracy?

7. JOE (off-panel):

The Major's civilian ID was the most open secret in history. Everybody knew who he was.

8. JAMES (softly):

Everybody except me.

JAMES has risen and crossed to the edge of the patio. He looks out over the garden, his back to his father.

9. JOE (off-panel):

Don't be so hard on yourself, son.

10. JAMES:

So what did you tell her? About joining this... commission?

11. JOE (off-panel):

I told her yes.

JAMES has turned to face JOE (who is now also standing). This wasn't the news he wanted to hear.

12. JOE:

I didn't know what you were doing! And it's my civic duty to help out the FBI. Help them — to help people like your friends.

13. JAMES:

Dad—

14. JOE:

I'm not going to give you away, son. You or your friends. But I'm not going to let your choices stop me from saying or doing what I believe is right.

Close-up on JAMES.

1. JAMES:

I wouldn't want you to do otherwise, Dad.

2. JAMES:

And I'll just have to prove to you that my choices are for the good of this country.

JOE claps his son on the shoulder.

3. JOE:

I'm sure you will, son. I'm sure you will.

JAMES has walked to the back door and has his hand on the handle, about to enter the house.

4. JAMES:

We're leaving tomorrow—and I can't really tell you where.

5. JOE (off-panel):

I know that. But—

6. JOE (off-panel):

Call your mother sometimes, ok?

7. JAMES:

Of course.

JAMES walks into the house -- and a chair cushion hits him in the face.

8. SFX:

WHUMP

9. JAMES:

Hey!

10. SARA (off panel):

You never told us when it was your birthday, you rat!

A wider view of the living room shows SARA poised with another cushion. JAMES holds the first one ready to fend off the next attack.

11. JAMES:

Oh. I would have. I mean, if we had reached New York—but then with the super villain and the laser and the weather—

She throws the second cushion, which he deflects with the first.

12. SFX:

WHUMP

13. JAMES:

Cut it out! Come on, we need to plan where we'll be heading next.

A run-down inner-city street. Early evening. The scene shows a shabby door in a shabby brick wall. A painted sign next to the door says "DOJO" and has a crooked arrow obviously indicating "up the stairs". A man is locking the door (we assume he's locking it, as he's just about to walk away from the building!) This is CHARLIE WANE. He's a young man -- around 20, 21. Dark skin, close-cropped hair, and a tall, well-muscled body. He wears loose black trousers, sneakers, and a plain white t-shirt. A gym bag is slung over one shoulder.

1. VOICE-OVER CAPTION:

"Got anywhere in mind?"

2. VOICE-OVER CAPTION:

"I was thinking, down to San Diego."

3. VOICE-OVER CAPTION:

"Why? What's happening in San Diego?"

4. VOICE-OVER CAPTION:

"Nothing—as far as I know."

5. CAPTION:

San Diego.

WANE has turned away from the door, just as a young, skinny, teenage boy is walking past. We'll call the kid FRANCO. He looks over as WANE calls out to him.

6. WANE:

Hey, Franco. Haven't seen you in class this week.

7. FRANCO:

I'm sorry, mister Wane. My mom can't afford no more lessons for me, not now my baby sister's here.

WANE towers over the boy, making a great show of scratching his head and rubbing his chin in a thoughtful manner.

8. WANE:

Well what are you mooching off your momma for? Grown kid like you should be paying his own way!

9. FRANCO:

But mister Wane—

10. WANE:

I tell you what, I've been looking for someone to help clean up round the dojo. You do that and I'll take the lesson money out of your wages. Deal?

FRANCO breaks out into a big grin.

11. FRANCO:

Deal, mister Wane!

WANE watches FRANCO run off down the street.

12. WANE:

Heh.

WANE is walking down the street, whistling.

13. SCREAM (off-panel):

AAAAAAAAAAAAAAAAAAAAAAAAA

WANE has dropped his bag on the ground and is running back down the street.

No dialogue.

WANE stands in the entrance to an alley where he sees FRANCO menaced by three THUGS. The thugs are older than the kid -- WANE's age -- and all look tough and muscular. They wear identical denim jackets: sleeveless and with an embroidered logo on the back that looks like the claws of a big cat (e.g. a leopard) ripping three diagonal slashes in the material. (We possibly can't see this decoration in this panel but we should see them at various points in this scene, to show that the THUGS wear similar "colours".) One of the THUGS has FRANCO's arm twisted up behind his back (we'll call this thug CHICO) and the other two stand menacingly with clenched fists (they're less important so they'll just be THUG #2 and THUG #3). FRANCO is obviously frightened and in pain.

1. CHICO:

We told you, punk, you stay off the Claws' streets.

2. WANE:

Put him down.

All three THUGS look at WANE. CHICO grins evilly as he wrenches FRANCO's arm.

3. SFX (arm):

Snap!

4. FRANCO (screaming):

AAAAAAAAAAAAAAAAAAAAAAAAA

CHICO drops FRANCO to the ground.

5. CHICO:

Ok.

All three THUGS advance on WANE, who looks unconcerned. CHICO (on WANE's left) has pulled a switchblade which he brandishes gleefully.

6. CHICO:

You made a big mistake, man.

7. WANE:

Yeah—

WANE has dropped into a crouch and, with one extended leg, is sweeping the legs out from under THUG #2 and #3. At least one of them (#3) has struck his head on the wall of the alley as he falls.

1. SFX:

Thwack!

2. SFX:

Whack!

WANE has stood and turned to face CHICO. CHICO's knife cut misses WANE. Behind WANE, we see the two other THUGS on the ground.

3. SFX:

swwwshhhh

WANE is using one arm to immobilise CHICO's knife arm in a painful-looking joint lock. His other hand punches CHICO on the nose.

4. SFX:

CRUNCH

5. CHICO:

Owwwwww!

WANE still holds CHICO by the knife arm. CHICO's nose is bleeding heavily and the knife is dropping from his hand. Behind WANE, THUG #2 has risen and stands poised to smash WANE on the head with a piece of metal pipe. WANE doesn't seem to have noticed him.

No dialogue.

WANE still has CHICO's arm held. Without even looking round, he is kicking THUG #2 in the stomach. He is bending to deliver the high back kick, the move probably causing more discomfort to CHICO as his arm twists. No wasted effort when WANE's in a fight...

6. SFX:

THUD

7. THUG #2:

Offfffffff!

8. CHICO:

Aaaaaa!

WANE watches as all three THUGS run off.

1. WANE:

—I forgot to tie one hand behind my back first.

WANE kneels by FRANCO and holds his arm gently. It's swollen and has a very un-natural bend in it -- obviously broken.

2. FRANCO:

Ow!

3. WANE:

Easy—I won't hurt you.

WANE folds his hands over the break. His eyes are closed.

4. FRANCO:

Ow! Ow! Oh...

WANE has released the arm and there is no sign that it was ever broken.

5. FRANCO:

Hey! How you do that? Magic?

6. WANE:

Of course not magic. First aid. Chinese pressure points. But—er— keep this to yourself, ok Franco?

Across the street, the three THUGS are nursing their injuries in the shadows of another alley. But we can clearly see that they can see everything WANE is doing.

7. THUG #2:

That's not possible, dude!

8. THUG #3:

Yeah. Chico, you see that?

9. CHICO:

Shut up, both of you!

10. CHICO:

We gotta take this to the Leopard. He'll pay big for news like this.

A park. It's early evening. JAMES and SARA are in running clothes (SARA's hair is tied back in a braid) and are racing neck-and-neck along a path.

1. JAMES:

One mile!

The same spot as the previous panel. They have stopped running. Both are sweating from the exertion. SARA is sitting on the ground, head bowed, but JAMES is standing and beginning stretching exercises.

2. JAMES:

Ok, good run!

SARA points at JAMES accusingly.

3. SARA:

You were holding back!

4. JAMES:

It wasn't a race, Sara.

SARA is looking at her watch.

5. SARA:

Five minutes seven.

6. JAMES:

I was holding back.

7. JAMES:

Race you back!

SARA lies spread-eagled on the ground. In the background, we see that JAMES is already sprinting away.

8. SARA (softly):

Oh God.

The RV is parked in front of the THURSDAY's home. It's a sunny morning. The street is quiet, though we can't see much of the street in this panel because it's a close-up of the RV's cab. JAMES is in the cab, fiddling with something on the instrument panel (we can't see clearly what he's doing). He has a screwdriver in his teeth. The driver's door is open while he works.

1. CAPTION:

Sunday 30 November.

2. JAMES:

C'mon, you pesky GPS system.

3. JAMES:

No electronic device is going to get the better of me!

4. JAMES:

Ow!

5. VOICE (off-panel):

Hello, James.

JAMES looks down out of cab to see ASTRA (in civilian clothes -- green skirt, white shirt, no cape) standing by the door.

6. JAMES:

Astra! I mean—Ms Kirby!

7. JAMES:

Oh.

8. JAMES:

I guess this means you know my secret identity.

Close-up on ASTRA, who looks like she's trying not to smile.

9. ASTRA:

Yes. I've been watching you since before you were born.

Close-up of JAMES rubbing his neck, a sheepish expression on his face.

10. JAMES:

You knew I wasn't the Major's son. You must think I'm pretty stupid.

Back to ASTRA, looking serious now.

11. ASTRA:

No, I don't.

12. ASTRA:

And neither does he.

13. JAMES (off-panel):

He?

JAMES is leaping down from the cab.

1. JAMES:

The Major?

2. JAMES:

He's still—?

3. JAMES:

I mean, you've spoken to him?

JAMES is standing next to ASTRA. She holds up a hand to shut him up.

4. ASTRA:

I see him now and then.

5. JAMES:

Where—?

6. ASTRA:

It doesn't matter where. Not anywhere you can get to.

7. ASTRA:

He went away to—to wait. Until superpowers returned and the world needed Major Democracy again.

Close-up on JAMES looking troubled.

8. JAMES:

That's happening now. So he's coming? And I'll have to give—

Close up on ASTRA, shaking her head.

9. ASTRA:

No, he's not coming back. He doesn't need to.

10. JAMES (off-panel):

But—

View of the two of them again.

11. ASTRA:

He's seen you, James.

12. ASTRA:

And he approves.

13. ASTRA:

This world has its Major Democracy.

We are now looking at the other side of the RV (so it blocks our view of JAMES and ASTRA). SARA is leaning against the side of the vehicle, obviously listening. Her expression is neutral.

14. ASTRA (from behind vehicle):

Now go get your team—

15. ASTRA (from behind vehicle):

—and do what you do best.

The living room of a large, comfortable apartment. The furniture is modern, the bookcases are jammed full of textbooks and scholarly journals and there are a couple of tasteful framed prints on the wall. No "feminine" touches, though. (It's not necessary to pack all the detail in this one panel as we'll have other panels in the same room.) A large travel bag sits on a low table and PAUL SMITHSTEEN is busy loading clothes into it from piles laid on the couch. Also on the table is a framed photograph, but from our POV we can't see the subject. PAUL is standing and has a phone wedged between his ear and his shoulder.

1. CAPTION:

Dr. Paul Smithsteen.

2. PAUL:

That's right, I have to leave again.

3. PAUL:

No, I've already explained why I can't tell you.

4. PAUL:

You have absolute power of attorney, ok? The papers are in the mail.

5. PAUL:

I know about the lawsuits.

The clothes are packed but the bag still stands unzipped.

6. PAUL:

Do whatever you have to do to settle out of court. I don't care about the money, I'd rather protect my professional reputation.

7. PAUL:

Yeah, I'm sure I'll be back in LA one day. I just don't know when.

8. PAUL:

Yeah, see you around, Ernie.

The phone call is finished. Close-up on PAUL sitting on the couch, holding the photograph in both hands as he looks at it. A far-away expression on his face.

No dialogue.

A close-up of the photograph. It shows PAUL, perhaps ten or 15 years ago, college age, his hair noticeably longer than it is today. An attractive woman of similar age stands behind him, with her arms around him and her chin on his shoulder, and both are smiling for the camera. Both are dressed for warm weather and they are in bright sunshine, but a strong breeze is whipping their hair around. The background suggests a small sailing yacht.

No dialogue.

A change of scene -- the woman from the photograph sitting on a different couch in a different room, bending over a table and writing on a notepad. A couple of large books are open on the table in front of her. The background shows a room with a single bed in one corner, a computer in another, several piles of books, and probably some clothes strewn around the place (though we might not see all the detail in this particular panel). Think of a student's bedroom. This is JULIE (as dialogue will soon reveal) and in this scene she's the same age as in the photograph. (Yes, that means we're in a flashback.)

1. PAUL (off-panel):

Julie!

JULIE looks round as PAUL burst into the room. He's waving a small envelope in the air. He looks quite excited.

2. PAUL:

Got them!

PAUL has JULIE in his arms and is swinging her around. Both now look quite excited.

3. JULIE:

Wooohoooo!

4. PAUL:

Goodbye Boston, hello Hawaii!

Still in each other's arms, they smile at one another.

5. JULIE:

We so need a break from studies!

6. PAUL:

I know what else we need...

Still holding one another, they sink onto the bed. Yikes, time to end the flashback I think.

No dialogue.

Back to the present. PAUL is still looking at the photograph. Frowning.

1. PAUL:

That's not possible.

PAUL is placing the photograph in the bag.

No dialogue.

PAUL has a jacket on and the bag slung over his shoulder. He has paused by the door and is looking back into the apartment.

2. PAUL:

Come on, guys. We've got some history ahead of us.

Same view, showing that the apartment is empty. PAUL has left.

No dialogue.

A beeping wrist watch lies on the floor. Nearby is an overflowing ashtray, half a bottle of Jack Daniels with a couple of half-empty glasses, several open beer bottles, a pack of cigarettes, a Zippo lighter, and a large pizza box. This cluster of items lies next to a bed, and we can see the side (but not the occupants) of the bed in this panel.

1. SFX:

BEEP beep BEEP beep BEEP beep BEEP

Exactly the same view. An arm is stretching down from the bed, the hand groping for the watch.

2. SFX:

beep BEEP beep BEEP beep BEEP

The hand actually closes around the cigarette carton.

3. SFX:

beep BEEP beep BEEP beep BEEP

We now see the top of the bed (at least half of it -- it's a double bed and half of it is off panel) and FRED is sitting up, naked to the waist, lighting a cigarette with the Zippo.

4. CAPTION:

Fred Berkov.

5. FRED:

Was I supposed to be somewhere?

6. SFX (off-panel):

beep BEEP beep BEEP beep BEEP

We now see the full bed. Next to FRED an attractive young woman is sitting up, holding the sheet against her front. Long blonde hair falls over her face.

7. SFX (off-panel):

beep BEEP beep BEEP beep BEEP

FRED and the blonde regard each other warily.

8. SFX (off-panel):

beep BEEP beep BEEP beep BEEP

Same view.

9. BLONDE:

Do I know you?

10. SFX (off-panel):

beep BEEP beep BEEP beep BEEP

A narrow street, virtually an alley, with morning sunlight slanting into it. There is a shop window with a number of items behind the small panes: pyramids of bottles and jars (too small for us to read the labels); a large line drawing of a human body with red arrows pointing to different areas (like an illustration for a medical text); one of those "beckoning cats" waving at us. Next to a window is the shop's sign: REMEDIES, ACUPUNCTURE. There is more writing, Chinese but too small to make out. Next to the sign is a door -- it is closed. The alley itself is deserted.

No dialogue.

An identical panel. Still nobody in sight.

1. CAPTION:

Chi-Yun.

Identical view of the deserted street once again.

No dialogue.

Same view. Same lack of people.

2. CAPTION (voice-over):

"Do you think everybody will turn up?"

The cab of the RV. James is in the driver's seat, Sara next to him. They are both looking out of the windows, in different directions. Although we can see them in the cab, this is a wide enough view that we can see where they are parked -- a mall in the centre of LA, actually the place they drove past in ISSUE 35 PAGE 15. The street and parking lot are busy with cars and people.

1. JAMES:

Why wouldn't they?

A closer view of the cab now. They are looking at each other.

2. SARA:

Don't you feel that things are changed? Since the—since we came to LA?

3. JAMES:

Nothing's changed. We still need each other—

4. SARA:

Maybe we don't!

5. SARA:

We've learned how to take care of ourselves. Now they've found that they can go back to their old lives without anything dreadful happening. Paul never thought he fitted in anyway. Maybe this is—

They both see (and we see, from their POV) PAUL sauntering down the sidewalk towards them. He has his bag over his shoulder. He's waving.

6. SARA:

Oh.

PAUL is now in the vehicle, standing behind and between their seats. They have turned to talk to him. PAUL and JAMES look happy, SARA is inexplicably glum.

7. PAUL:

Have a good weekend?

8. JAMES:

Excellent! You?

9. PAUL:

Busy! What's up Sara—

Close-up of SARA. She has the same expression. while the other two talk over her.

10. PAUL (off-panel):

—Unhappy about being back on the road?

11. JAMES:

She thought you weren't coming back.

PAUL has turned away and is taking his laptop and maybe some other stuff out of his bag. We watch him from JAMES and SARA's POV, so they can be in the panel foreground.

1. PAUL:

I'll admit, I don't know how long I'm staying. I have some personal business that I've been putting off much too long.

2. JAMES:

We can swing by wherever you need to go. And if you need any help—

SARA is looking out the front window again.

3. PAUL (off-panel):

Appreciate it. We'll see how it pans out.

4. SARA:

Maybe Fred won't come back. He's always been—

Same view but we can see FRED, on a motorcycle, pulling up in front of the vehicle.

5. SARA:

Oh.

JAMES looks at SARA, exasperated. SARA still looks vaguely troubled.

6. JAMES:

What's wrong? You're acting like you don't want the team to get back together.

7. SARA:

No! It's just—I've just felt uneasy all day. Like something's going to go wrong.

FRED, behind them, still in his biker gear and with his helmet under his arm, sticks his head between the seats.

8. FRED:

Leave the premonitions to the expert. And at the moment I'm feeling nothing apart from hung over.

FRED deposits himself in one of the seat in the living area of the RV and takes his cigarettes out of a pocket.

9. FRED:

Where are we headed next, anyway?

10. JAMES:

I thought perhaps San Diego.

11. FRED:

Why? What's happening in San Diego?

Same view as the previous panel.

1. JAMES:

Nothing.

2. FRED (softly):

Oh yeah, that'll change as soon as we get there.

A view of enough of the vehicles interior to see all four occupants. PAUL looks at his watch.

3. PAUL:

Chi-Yun's late.

4. SARA:

She'll be here.

5. FRED:

She's probably forgotten where we're meeting.

6. SARA:

Homing pigeon, remember? She'll be here.

A view of the vehicle's exterior.

7. SARA (from vehicle):

She's just got a bad time sense.

Wider view, showing the busy street. No sign of Chi-Yun.

8. SARA (from vehicle):

But she'll come.

Our view pulls further back.

No dialogue.

Our POV is now way back and the RV is lost in the panoramic view of the huge city.

9. SARA (from random point in the city):

She's not coming.