Lost

The Sun rises over a city skyline. In the foreground is a large, many-windowed building. The building's name is displayed on a prominent sign: HAILEY HOTEL.

1. CAPTION:

San Diego.

2. CAPTION:

Monday 1 December 2014

3. CAPTION (SARA's monologue):

Everything has gone wrong.

Now a view inside a hotel bedroom -- a nicely-furnished room, such as you would expect in a high-class hotel like a HAILEY. The bed is unmade and blue jeans and a plain white shirt have been placed carefully on it. Other clothes might be slung over a nearby chair, as if recently sorted through by a not-very-tidy person. In the background an open door leads into what might be a bathroom.

4. CAPTION (SARA's monologue):

We were just starting to act like a team. Feeling safe. Feeling like we were accomplishing something.

And now we're looking through the door and we can see SARA. She is standing at the wash basin, her back to us, barefoot and naked apart from a towel wrapped around her body and another around her hair. Her hand is raised as if brushing her teeth. (There is a mirror but our POV shouldn't let us see her face in it at the moment.) The bathroom is steamy as if she's just stepped out of the shower.

5. CAPTION (SARA's monologue):

And then Chi-Yun was kidnapped.

6. CAPTION (SARA's monologue):

And we don't have any idea how to find her.

A closer view of SARA (just her head and shoulders), still from behind but now able to see her face in the mirror. Yes, she is brushing her teeth. Yes, even for SARA this looks as undignified as brushing teeth always does.

1. CAPTION (SARA's monologue):

I have all these powers—

Same view, but SARA has now bent forward over the sink -- in fact, below our line of sight, so we just see the mirror.

2. SFX:

P-tuh!

She has straightened up again, but now it's a slightly longer view so that we see more of her upper body and we can see her reaching for a glass of water that's on the edge of the basin. Note that she is looking in the mirror, not looking down at the glass.

3. CAPTION (SARA's monologue):

Supernaturally good at finding things—

Close-up of her hand reaching for the glass -- and she's misjudged and bumped the glass with the back of her hand, as you might if you're not looking at what you're doing, knocking it over the edge of the basin.

4. CAPTION (SARA's monologue):

And I couldn't even—

Close-up of the glass falling towards the tile floor, spilling water as it spins through the air.

5. CAPTION (SARA's monologue):

Huh?

It strikes the floor and shatters.

6. SFX:

Crash!

SARA looks down at the glass on the floor.

1. CAPTION (SARA's monologue):

But I never—

SARA is stooping down, picking up pieces of broken glass.

2. SARA:

Ow!

SARA stares, wide-eyed, at the bright red blood welling from a cut on her right index finger.

3. CAPTION (SARA's monologue):

Oh God.

SARA sits on the bed, still wearing the towel, applying a band-aid to her finger.

4. CAPTION (SARA's monologue):

Everything has gone wrong.

SARA, JAMES, FRED, and PAUL sit around a breakfast table in the hotel's restaurant. They eat in silence (we'll include this otherwise unnecessary panel to emphasize the lack of dialogue), all looking glum.

No dialogue.

Same view.

1. SARA:

Did Don call yet?

2. FRED:

Oh for God's—

3. PAUL:

It's only been a day.

Same view. They've all put their forks down, suddenly uninterested in eating.

4. JAMES:

If he's going to call anyone, it's going you be you, Sara.

5. SARA:

I know. I just—

6. JAMES:

—Feel that we ought to be doing something.

SARA is getting up from the table. Her breakfast is unfinished.

7. JAMES:

Meet you for a run later?

8. SARA:

Yeah. Sure.

Exterior view of a roadside diner. It's mid-morning. The road is quiet (it's not a major highway) and the diner's parking lot has just one car that we can see -- an unremarkable saloon.

1. VOICE (from diner):

You look like you've got the world on your shoulders.

Now the interior of the diner. A pink-uniformed waitress pours coffee from a pot, refilling a cup on a table. In this panel we don't see the patron sitting at the table.

2. VOICE (off-panel):

Yeah. Funny how that always happens.

3. WAITRESS:

Want to talk about it?

Now we can see that it's DON seated at the table. He's slumped in the seat and indeed looks like he's got the world on his shoulders.

4. DON:

Thanks, but you wouldn't believe it if I told you.

5. DON:

I wouldn't mind some of this coffee to go, though.

6. WAITRESS:

Coming right up.

Close up on DON at the table. He has a pensive look. The fingers of his right hand are drumming on the table top.

7. VOICE (off-panel):

You're heading into DC?

Same view of DON. He hasn't looked up at the speaker.

8. CAPTION (voice-over):

"Out of the question. You can't go anywhere near Washington."

We are now in a flashback page and hopefully it will be obvious that the last voice-over caption was lead-in dialogue for it. This scene shows SARA, JAMES, PAUL, and FRED in their RV, clustered around the table in the back. They are dressed as they were last issue (which will be slightly different to how they looked at the start of this issue). A laptop computer is open in front of them and they are talking at it.

1. CAPTION:

Yesterday.

2. SARA:

But Don—

3. VOICE (from computer):

No buts, Sara. Doyle's a Federal bounty hunter—

Now a reverse view of the same scene, so we are looking at the computer screen. DON's face is visible on it. Some form of video-conferencing, obviously. The panel should include the backs of everyone's heads -- or at least SARA's, so we can see it is her speaking.

4. VOICE (from computer):

That means government, Sara.

5. SARA:

That's why we want to go to—

Back to a front view of our heroes. FRED frowns at SARA.

6. FRED:

Who is this "we"?

Now we see DON's location. He is in a sparsely-furnished room, looking like a cheap motel room. He is also facing a laptop computer.

7. DON:

No! that's why you can't go!

8. VOICE (from computer):

But we would—

9. DON:

—Get yourselves captured in ten seconds flat. And how's that going to help Chi-Yun?

Back to our heroes clustered around their computer.

10. VOICE (from computer):

I'll go. I know the city and I know who it's safe to talk to. I'll find Chi-Yun.

Back to today, with DON in the diner. The waitress is putting a lidded beaker on the table. DON looks up at her.

1. CAPTION (voice-over):

"I promise."

2. DON:

Yeah.

3. WAITRESS:

Sounds like you wish you weren't.

DON is standing and picking up the beaker.

4. DON:

Me and Washington don't get on.

DON is in the parking lot, carrying the beaker. He's opening the door of the car we noted previously. Nobody is around -- he's talking to himself.

5. DON:

Too many bad memories.

6. DON:

Don't make this another one, Don.

And now the car is on the road, passing a sign which reads "WASHINGTON 90 MILES".

No dialogue.

A tight view of SARA pressing an elevator call button. We can plainly see the band-aid on her finger.

1. CAPTION (SARA's monologue):

What are we supposed to do now?.

2. VOICE (off panel):

What did you do to your finger?

Wider view showing PAUL standing next to her. They both look at her extended finger.

3. SARA:

Oh. Nothing. Stupid cut. Just clumsy.

4. CAPTION (SARA's monologue):

Paul has already said that he wants to leave to sort out some personal business.

The elevator doors are open and PAUL just watches as SARA enters.

5. CAPTION (SARA's monologue):

Fred never wanted to be part of the team anyway.

The doors are now closed. PAUL continues to look at them.

6. PAUL:

But you're never...

7. CAPTION (SARA's monologue):

Even Don doesn't need us.

PAUL walks away from us, across the lobby.

8. CAPTION (SARA's monologue):

He brought us together for our own protection and we've proven to him that we can't protect one another.

9. PAUL:

What is wrong with this team?

He continues to recede from our POV.

10. CAPTION (SARA's monologue):

So what's the point of us staying together?

11. PAUL:

Heh. I said "team".

This is THE LEOPARD's lair. It is a large room with dim, indirect lighting. Pieces of abstract art line the walls (paintings on the walls, small sculptures on pedestals), interspersed with animal skins and other "hunting trophies". At one end is what can only be described as a "throne": a big, ornately-carved chair on a raised dais, draped with a leopard skin. THE LEOPARD sits sprawled on the throne. He is dressed similarly to his first appearance back in ISSUE 14 PAGE 19 -- a loose, open robe that shows off his bare chest and muscular arms. Several men (of various races) stand against the walls. They are mainly dressed in sharp suits and mostly armed with a variety of small automatic weapons. We might notice that the man nearest the LEOPARD's right hand is CHICO -- also wearing a sharp suit. He's moving up in the world.

At the far end of the room, opposite the "throne", is the only obvious doorway. (There may be other doors but they are concealed from our view.) Through this door come two men dragging (by the arms) CHARLIE WANE. Two armed men follow them. WANE is dressed as he was in his last appearance but he's disheveled, unshaven, and his t-shirt is bloodstained. He appears to be unconscious (hence the dragging).

Phew. That's a lot of detail to convey, so we'd better make this a full-page splash panel.

No dialogue.

Close-up on the LEOPARD's face.

1. LEOPARD:

Show me.

The men with WANE have halted about six feet short of the "throne". While the LEOPARD looks on eagerly, one of the men holds up WANE's right arm, presenting it for the LEOPARD's inspection. To us it looks just like a normal arm. The other man continues to hold WANE's left arm. WANE slumps between them, head down, his legs dragging behind him.

2. LEOPARD:

Incredible! After less than twelve hours!

WANE has moved! His legs are firmly planted under him, his head is up, and he has pulled the two men holding his arms, jerking them together in front of him and cracking their heads together.

3. SFX:

KRAK!

4. THUG #1:

Uhhh!

5. THUG #2:

Uhhhh!

The two THUGS are now lying on the ground in front of WANE. He's performing a hand-stand, a hand planted firmly on each of their heads, leaving his legs free to kick the two thugs behind him -- a foot in each of their faces.

6. SFX:

THWACK!

7. SFX:

THWACK!

8. THUG #3:

Uhhh!

9. THUG #4:

Uhhhh!

It doesn't look like any of the four thugs are getting up. WANE is now leaping towards the LEOPARD, hands reaching for his throat.

No dialogue.

Close-up of WANE's head and outstretched arms, as somebody smashes the butt of an automatic pistol on the back of his head.

1. SFX:

THUNK

WANE is sprawled on the floor and we can see that it's CHICO who hit him. CHICO is looking uncommonly pleased with himself.

2. LEOPARD:

Take him back and chain him up.

Two more thugs are dragging WANE away.

3. LEOPARD:

Break his legs this time.

Evening is approaching -- it's still light but shadows are lengthening. The scene shows a curving path through a city park. The area is deserted apart from SARA and JAMES. They are dressed in running clothes and running side-by-side. No SHIELD for JAMES and his shorts and t-shirt make it obvious he's not wearing his armour. SARA's hair is tied back into a single braid, as it often is when she's doing something physical. This should be a medium-long view, close enough to clearly identify them but wide enough to show that they are alone.

No dialogue.

Further along the path, SARA and JAMES are confronted by a group of five young THUGS. The thugs should look suitably mean and disreputable and each is wearing a jacket with the CLAWS gang emblem on the back (see ISSUE 37 PAGE 9).

1. THUG #1:

Hold it there.

With the thugs blocking the path, JAMES and SARA have halted. JAMES spreads his hands in a conciliatory manner.

2. JAMES:

We don't want any trouble.

3. THUG #1:

Neither do we. We just want the lady's purse.

SARA stands with her hands on her hips.

4. SARA:

Do you see a purse?

Close up on THUG #1 as his eyes narrow speculatively.

1. THUG #1:

Then I guess we'll just have to take—

THUG #1 has suddenly lunged towards SARA, about to grab her.

2. THUG #1:

You!

In mid-lunge, THUG #1 has run neck-first into JAMES's rigidly extended arm. JAMES has barely put any effort into it, simply held his arm out to block the thug's lunge, but the THUG is obviously halted by the "clothesline".

3. THUG #1:

Urk!

The remaining thugs form an arc in front of JAMES and SARA, making various threatening gestures. Their leader is curled up on the ground, clutching his neck and showing no sign of fighting back.

4. THUG #2:

Get 'em!

SARA effortlessly side-steps a grab from one of the thugs. She's not even looking at him -- she's looking to the side, at something out-of-panel.

1. CAPTION (SARA's monologue):

I never need to watch my opponents when I fight.

2. CAPTION (SARA's monologue):

My power takes care of that.

In the dominant panel on the page we see JAMES in action. He has blocked the punch of one thug with his left arm, connected with a right jab to the chin of another, and ducked his head to avoid the roundhouse punch of a third, all in a single motion.

3. CAPTION (SARA's monologue):

I usually watch James instead.

Still on JAMES, as he stops another attack by grabbing the thug's wrist and simultaneously delivers a body-punch to another thug.

4. CAPTION (SARA's monologue):

Maybe he's a hair slower than Jerome. Maybe he doesn't have Harry's killer instinct, or Don's years of experience.

5. CAPTION (SARA's monologue):

But he's the best at what he does.

He's now effortlessly flipping the grabbed thug to the ground.

6. CAPTION (SARA's monologue):

He never stops thinking. Mapping out his moves five steps ahead.

7. CAPTION (SARA's monologue):

I've never seen anyone beat him in hand-to-hand combat. Whatever the odds.

Half kneeling now, he has paused with his fist cocked back ready to hit the downed thug.

8. CAPTION (SARA's monologue):

But despite the odds, he never uses any more force than the necessary minimum. Even against creeps like this.

Back to SARA, and the thug facing her has grabbed her braid, twisting her head round.

1. CAPTION (SARA's monologue):

And he does it all without powers. He can't rely on supernatural luck to protect—

2. SARA:

Ow!

SARA elbows the thug in the face, causing him to let go of her.

3. SFX:

crack!

4. CAPTION (SARA's monologue):

But, hey, I've been studying karate since I was five.

SARA delivers a spinning kick to the head of the staggered thug.

5. SFX:

WHACK!

6. CAPTION (SARA's monologue):

I do ok.

THUG #1 has regained his feet and -- oh no! -- he's pointing a revolver at SARA's head from only a few feet away.

7. THUG #1:

Both of you freeze!

A wider view. We see that SARA has indeed frozen, her eyes on THUG #1. JAMES was holding another (unconscious) thug by the shirt front, having just punched his lights out. He is also looking at THUG #1. The three of them are the only ones still on their feet.

1. THUG #1:

On your knees or she gets it.

Keeping SARA covered, the thug looks at JAMES (who has dropped his last victim).

2. THUG #1:

Now!

JAMES has spread his hands in a non-threatening gesture but shows no sign of getting to his knees.

3. JAMES:

Don't do anything you'll regret, son.

Close-up on the sweating thug as his thumb cocks back the revolver's hammer.

4. CAPTION (SARA's monologue):

His gun will misfire.

5. CAPTION (SARA's monologue):

A hornet will sting him and put his aim off.

6. CAPTION (SARA's monologue):

Part of the International Space Station will break off and land on his head.

Close up of SARA's face. Her eyes are wide, sweat beads on her forehead, and it looks like she's holding her breath.

7. CAPTION (SARA's monologue):

Some lucky coincidence will happen for me.

8. CAPTION (SARA's monologue):

That's how my power works.

JAMES and SARA watch the thug keel over onto his back, the gun dropping from his limp fingers.

1. SARA:

Huh?

FRED steps from between some bushes at the side of the track, removing a cigarette from his mouth.

2. FRED:

I shut his brain down. He'll be out for hours.

FRED stoops next to the thug, rolling him over on to his front. He's looking at SARA and gesturing at the CLAWS motif on the back of the thug's jacket. In the background we can see JAMES removing bullets from the thug's revolver.

3. FRED:

Lucky for you I was out for a walk.

4. SARA (softly):

Yeah. Lucky.

5. FRED:

Claws. I've heard of these. Big gang in this city.

FRED has straightened up from the body, facing JAMES and SARA.

6. FRED:

They're the street-level eyes for the local crime boss.

7. SARA:

The Leopard. He's bad.

8. JAMES:

We've dealt with bad people before.

The same scene but now our POV is from a distance away and the scene is viewed through leafy branches. As if the reader is a concealed observer.

9. SARA:

No, I mean real bad. And too big for the cops to deal with, even.

We are still watching from the same concealed POV. They are now walking together down the path, away from our POV, leaving the unconscious thugs behind.

1. CAPTION (SARA's monologue):

We don't even need to discuss walking away from the thugs on the path. We all know we can't afford police scrutiny right now.

2. JAMES:

If he hurts people, he'll find that he's not too big for me.

3. CAPTION (SARA's monologue):

But I know James hates it. And I know what he wants to do.

Now back to a normal POV, showing the three of them walking towards us down the path. JAMES in the centre, SARA and FRED flanking him.

4. SARA:

You're not thinking of—?

5. FRED:

Come on, we can't afford to go looking for trouble.

JAMES is still striding on. SARA and FRED have stopped dead.

6. JAMES:

I never go looking for trouble.

SARA and FRED look at each other in astonishment.

7. FRED:

It's almost as if he believes that!

8. SARA:

He wouldn't say it if he didn't believe it.

The two of them catch up with JAMES, who is still purposefully striding down the path.

9. CAPTION (SARA's monologue):

He's the most honest man I know.

We are now looking into some bushes and we see a young boy's face peering out of them. It's FRANCO, the boy we saw back in ISSUE #37 PAGE 8. His eyes are wide -- almost an expression of awe.

1. CAPTION (SARA's monologue):

But still...

FRANCO leaves the bushes. We can now see that he was concealed near the scene of the fight -- it was his POV we used previously.

2. CAPTION (SARA's monologue):

Beating a few thugs is easy.

Skirting the unconscious thugs, he goes running in the direction JAMES, SARA and FRED took.

3. CAPTION (SARA's monologue):

But the Leopard's got a private army. We can't deal with that.

He's running through the park's gate, towards a busy road. On the other side of the road we see the facade of the HAILEY hotel.

4. CAPTION (SARA's monologue):

And what happens when we meet someone with real power?

He races up the steps of the hotel. A uniformed doorman stands at the top, tipping his cap to a well-dressed couple who are just leaving. The contrast between FRANCO's scruffy street clothes and the opulence of the HAILEY and its patrons should be obvious.

5. CAPTION (SARA's monologue):

Like the Electric Raider. We wouldn't have beaten him without Chi-Yun.

FRANCO slips past the couple, just evading the doorman's grab.

1. CAPTION (SARA's monologue):

For a while it felt like we could make a real difference.

2. DOORMAN:

Hey!

FRANCO skids to a halt inside the ultra-plush lobby of the HAILEY. His eyes and mouth are wide open -- he's never seen anything like this. Behind him, the angry doorman lumbers towards him.

3. DOORMAN:

Hey, punk!

4. CAPTION (SARA's monologue):

I thought we could change the world.

With a glance over his shoulder at the doorman, FRANCO sprints off again.

5. CAPTION (SARA's monologue):

And if we can't—

6. DOORMAN:

Grab him!

7. VOICE (off-panel):

Hey!

8. VOICE (off-panel):

Stop!

Running furiously and looking backwards instead of where he's going, FRANCO collides with a pair of bare, muscular, male legs. We don't see the upper body in this panel but the sneakers might be familiar, and only one man has musculature like that...

9. FRANCO:

Uhh!

10. VOICE (from above):

Whoa there, son!

11. CAPTION (SARA's monologue):

—What's left for us to do?

In a full-page view, we see who FRANCO has hit -- JAMES, obviously. He's at the elevators, along with FRED and SARA, and they are still dressed as they were in the park. JAMES is reaching down to steady the boy. FRANCO is looking up at him.

1. JAMES:

What's all this?

2. FRANCO:

Mister my friend's in trouble and I really need your help!

3. CAPTION (SARA's monologue):

Help.

4. CAPTION (SARA's monologue):

That's what he does.

5. CAPTION (SARA's monologue):

He'll always help.

6. CAPTION (SARA's monologue):

And I'll always be there with him.