The Leopard's Lair

A building interior. Two men stand either side of a closed elevator door, facing our POV. In fact they slouch, reclining against the wall and looking thoroughly bored. One looks down at this feet, the other off to one side. Both men are dressed in sharp-looking suits, but they don't look like they're here for a night at the opera. In fact, they look more like Mafia goons on guard duty. Which is more-or-less what they are.

1. CAPTION (JAMES'S JOURNAL):

Monday 1 December 2014.

Same view. One of the guards is now flipping a quarter. The other is polishing his left shoe on the back of his right trouser leg.

2. CAPTION (JAMES'S JOURNAL):

San Diego.

Same view. One guard is bending to retrieve his quarter from the floor. The other looks off to the side and yawns.

3. CAPTION (JAMES'S JOURNAL):

10:35pm

Same view. One guard looks at his watch. The other just slouches, looking at his feet.

4. CAPTION (JAMES'S JOURNAL):

I'm here to help someone.

Same view. Both guards are now looking directly forward with surprised expressions.

5. CAPTION (JAMES'S JOURNAL):

That's what I do.

Same view.

6. GUARD:

Who the hell are you?

A full-page splash panel looking from the guard's POV. It's the foyer of an up-market building -- marble pillars and flooring, tasteful decor. Filling the view are our heroes: JAMES, in full costume with mask and SHIELD; SARA on his left, dressed in white shirt and blue jeans and with her hair tied back; JEROME on his right, wearing a long, black coat which will swirl around artistically during his martial arts manoeuvres and is long enough to conceal... ah, we'll get to that; FRED a little behind them, his black leather jacket zipped up. All of them in grim and moody "power poses".

1. SARA:

He's Major Democracy, who the hell are you?

Close-up on one guard as he pulls a pistol from within his jacket.

No dialogue.

JAMES has the guard's gun hand immobilised in a vice-like grip and is punching him solidly on the chin. JAMES and the guard are the only figures who need to be in this panel.

1. SFX:

CRACK!

In a wider view, JAMES turns to see JEROME putting down the other guard with a chop to the back of his neck.

2. SFX:

CHOP!

SARA is pressing the elevator call button.

3. CAPTION (JAMES'S JOURNAL):

I'm glad he pulled a gun. It makes me feel better about entering the building uninvited.

4. CAPTION (JAMES'S JOURNAL):

The building is owned by The Leopard.

5. CAPTION (JAMES'S JOURNAL):

The alleged mob boss who runs the city.

The four of them are in the elevator, looking out-of-panel at us.

6. CAPTION (JAMES'S JOURNAL):

The Leopard is holding an innocent man captive.

7. CAPTION (JAMES'S JOURNAL):

I don't know why.

8. CAPTION (JAMES'S JOURNAL):

But the only person who witnessed it is too afraid to talk to the police.

Same view. FRED is looking up towards the ceiling.

1. CAPTION (JAMES'S JOURNAL):

And I'm not sure that the police would take his word against the Leopard's anyway.

2. JAMES:

How many are up there, Fred?

3. FRED:

Can't... count all the minds. A... lot.

Same view. FRED looks at JAMES in irritation.

4. CAPTION (JAMES'S JOURNAL):

But I believe him.

5. JAMES:

Fred—

6. FRED:

Ok, you count them!

Looking down a long corridor with an elevator door to one side. The door is closed but even if it was open our angle of view wouldn't let us see into the elevator. There are two guards, just like those downstairs, standing one either side of the door. They look bored and are paying little attention to the elevator.

7. CAPTION (voice-over, continuing FRED's speech):

"Wait. Two guards on the elevator."

8. CAPTION (JAMES'S JOURNAL):

I don't like acting outside the law.

Same view of the corridor. The guards are now looking at the (closed) elevator door.

9. SFX:

Ting!

10. CAPTION (JAMES'S JOURNAL):

But there could be a life at stake.

Same view. The door is now open. We still can't see into the elevator but we can see what has emerged: two fists, JAMES's and JEROME's, each one punching one of the guards.

11. SFX:

Smack!

12. SFX:

Whack!

13. CAPTION (JAMES'S JOURNAL):

And I can't walk away from that.

JAMES and JEROME are dragging the unconscious guards into the elevator.

1. JAMES:

We need to split up.

2. FRED:

Oh yeah, 'cos that always works for us.

3. JAMES:

I don't like it but it's a huge building and Wane could be on any of these top floors.

4. JAMES:

Can you keep us in telepathic contact?

The four are once again in the corridor as the elevator door closes.

5. FRED:

Only if you can keep people from punching me while I'm concentrating.

6. SARA:

I'll stay with Fred. You and Jerome do the scouting.

7. JAMES:

But—

8. SARA:

We don't have all night to argue about it!

JAMES is now alone at the corner of the corridor (we may see SARA and FRED further back in the corridor but it's not important). He peers cautiously round the corner.

9. CAPTION (JAMES'S JOURNAL):

I had been relying on Sara's power to find the missing man.

JAMES is now in another corridor, pausing at a door. His ear is pressed against it and his hand is on the handle.

10. CAPTION (JAMES'S JOURNAL):

But I guess we'll have to do it the old-fashioned way.

JAMES has opened the door and burst into the room -- which we can plainly see is empty apart from a few cardboard boxes.

11. CAPTION (JAMES'S JOURNAL):

Huh.

12. CAPTION (JAMES'S JOURNAL):

This could take a while. Maybe Jerome's having better luck.

We now cut to JEROME, in a similar corridor, with his ear against a door.

1. VOICE (through door):

—yeah, gonna shake up the East Side traders and—

JEROME forcefully pushes the door open.

2. SFX:

WHUMP

3. VOICE (through door):

Uhhh—

JEROME pushes into the room and we can now see it clearly: it's the men's room (and not a very pleasant one). There were two occupants. One was at the door and is now falling senseless to the floor after JEROME slammed the door into him. The other is standing at a urinal, back to JEROME. (We will naturally convey this scene as tastefully as possible in the artwork.)

No dialogue.

In close-up: the man at the urinal has turned his head to see what's going on, and finds the sharp edge of a Japanese katana at his throat.

4. THUG (softly):

eep

In wider view, we see JEROME (obviously) calmly and professionally holding the katana. The THUG hasn't moved.

5. JEROME:

Where is the youth who is being held captive?

6. THUG:

Wh-which one?

Close-up on JEROME's stricken face.

7. JEROME:

Oh, dear God.

8. JEROME (thought):

Fred!

Shift of scene, to FRED and SARA. They are in the corridor near the elevator.

1. FRED (thought):

Got it. James—

Back to JAMES in another part of the building.

2. DISEMBODIED THOUGHT:

—There could be more than just this Wane guy here. Looks like the Leopard is in the people-trafficking business.

3. JAMES (thought):

If that's true, we don't stop until we find them all. And bring the Leopard down.

Back to FRED and SARA.

4. FRED (softly):

I knew he'd say that.

5. SARA:

What?

6. FRED:

James—

SARA is grabbing FRED by the arm, opening a nearby door, pulling him through it.

7. SARA (softly):

Shhh!

They are in a small closet-type room. SARA has her ear against the door.

8. SARA (softly):

They've found the guards we hit. Warn the others.

FRED is looking round the tiny room.

9. FRED:

Uh—Sara, you know we're trapped in a room with no other exits?

10. SARA (softly):

Shhh!

A complete black panel.

1. VOICE:

Wha—

2. SFX:

WHUMP

3. SFX:

THUD

A door has opened in the blackness, illuminating a small, grimy room. CHARLIE WANE lies against one wall. He looks much the same as in his last appearance (ISSUE 39 PAGES 9-11). We might be able to see a chain fastening his ankle to an iron ring set in the concrete floor. He's conscious and looking at the open door, holding up a hand to shield his eyes from the light. In the doorway is a silhouette that is unmistakably JAMES, dragging an unconscious guard behind him.

4. JAMES:

Wane?

5. WANE:

Yeah. Who the hell are you?

6. JAMES:

I'm—

7. JAMES:

No, never mind. I'm here to get you out.

JAMES is on one knee next to WANE. One hand holds the chain, pulling against the floor ring.

8. JAMES:

Are you ok?

9. WANE:

I will be.

10. JAMES:

Can you pull on this? Hold it taut.

WANE has two hands on the chain, straining to pull it tight against the ring. JAMES has brought the edge of his SHIELD down hard on the chain, actually smashing one of the metal links!

11. SFX:

CRACK!

JAMES is still kneeling next to WANE. A gun is pointing at the back of his head -- we don't see anything else in this panel, just the gun being held there.

1. SFX (gun):

ka-click

2. VOICE (off-panel):

Put your hands where I can see them.

Our POV is now in front of JAMES and we can see three armed thugs behind him, all aiming their guns at him. JAMES is looking at WANE (i.e. out of panel at "us") and has a finger to his lips: shhh!

3. CAPTION (JAMES'S JOURNAL):

My armor will stop a bullet, but one in the head at this range would probably stun me. Plus Wane might get hurt in a crossfire.

JAMES is on his feet and turning to face the thugs, his hands raised in a non-threatening manner.

4. CAPTION (JAMES'S JOURNAL):

If I go along with them I can make a break later.

JAMES is being pushed into the corridor. Four more armed men are there.

5. CAPTION (JAMES'S JOURNAL):

...or maybe not.

6. JAMES (thought):

Fred, tell Jerome—

Cut to a scene of JEROME in a large room, surrounded by thugs. He's punching two of them, two are already on the floor, and two more are rushing in to attack him. Note that his sword is not visible -- it's hidden beneath his long coat again.

1. DISEMBODIED THOUGHT:

Captain Clueless has got himself captured.

2. JEROME (thought):

Captain—?

3. JEROME (thought):

Oh.

JEROME is tossing another thug to the floor with a judo throw.

4. JEROME (thought):

Then my only course of action is...

JEROME is standing motionless, arms raised. The dazed and battered thugs rising from the floor look at him disbelievingly.

5. DISEMBODIED THOUGHT:

No! Crazy stupid—

FRED and SARA, still in their dead-end hiding place.

1. SARA:

What's going on?

2. FRED:

It's not good for our side.

They both look at the door.

3. SFX (from door):

THUD THUD

4. VOICE (through door):

In here!

5. SARA:

You don't say?

6. FRED:

Oh, terrific.

The door bursts open, kicked by a big and burly thug.

7. SFX:

KERRRASH

FRED and SARA stare down the barrels of several guns.

No dialogue.

Same view.

8. SARA:

Er... would you believe they went thataway?

Back in WANE's cell, only one thug remains. He looks down at WANE with an evil sneer and kicks at his leg. It shouldn't be obvious that WANE is actually free of his chain -- remember that it's dark in here, the only light comes from the open door, and therefore WANE is in shadow.

1. CAPTION (JAMES'S JOURNAL):

At least I set Wane loose. If he's got any sense he'll stay quiet and sneak out later.

2. SFX:

*kick*

3. THUG:

How's your leg?

Without rising, WANE kicks the thug solidly in the side of the head.

4. SFX:

THWACK

WANE is now standing and looking down at the unconscious thug.

5. WANE:

Fine. How's your head?

WANE is at the cell door, looking cautiously up and down the corridor.

6. CAPTION (JAMES'S JOURNAL):

That will be one less person for me to worry about.

7. WANE:

I'd stay and chat but I've got to rescue that masked man.

8. WANE:

Whoever the hell he is.

The LEOPARD's inner sanctum! This is the big "throne room" we saw in ISSUE 39 PAGE 9, and this should be the dominant panel on the page, to set the scene. The LEOPARD sits on his raised throne. Flanking him are his guards -- including CHICO at his right. In front of him are JAMES and JEROME. They are surrounded by guards pointing guns at them. JAMES has been relieved of his SHIELD, which another guard is holding out for the LEOPARD to examine. There is no sign of JEROME's sword. Altogether there are a LOT of armed guards in the room -- though we don't need to see them all in this panel, we just need to see that our heroes are heavily outnumbered.

1. LEOPARD:

Superhero wannabees.

2. LEOPARD:

Ha!

Closer view of the LEOPARD and his two captives.

3. LEOPARD:

How many more of you are there?

4. JAMES:

We're the only two here.

5. CAPTION (JAMES'S JOURNAL):

...in this room. But no need to tell him that.

6. CAPTION (JAMES'S JOURNAL):

Wish I still had contact with Fred.

The Leopard now holds the SHIELD.

1. LEOPARD:

So, you think you are Major Democracy?

2. JAMES:

No.

3. LEOPARD:

Are the things they say about this shield true?

4. JAMES:

I don't know. What do they say about it?

The LEOPARD is putting the SHIELD down next to his throne. He looks angry.

5. LEOPARD:

Don't play games with me, boy. Do you know why they call me the Leopard?

6. VOICE (off panel):

Is it something to do with your zits?

Close-up on JAMES and JEROME looking over their shoulders at something behind them: SARA and FRED being brought into the room by a cluster of armed thugs.

7. JAMES (thought):

Time for plan B.

8. FRED (thought):

Do you have a plan B?

9. SARA (thought):

He always has a plan B.

SARA and FRED are pushed in front of the LEOPARD. The order they are lined up is JEROME - JAMES - SARA - FRED (this might become important when the action starts).

10. LEOPARD:

Ah. Sylvia's girl. That explains a lot.

11. LEOPARD:

Did Sylvia send you here?

Close up on SARA grimacing.

1. SARA:

Oh, get real!

The LEOPARD gestures to a guard, who has SARA by the arm and is pushing her closer to the throne.

2. LEOPARD:

No matter. I will find out why you are here.

Close-up on JAMES and JEROME.

3. JAMES (softly):

Jerome?

4. JEROME (softly):

Aye.

5. JAMES (thought):

Fred?

Close-up on FRED.

6. FRED (thought):

You get me shot and I'll kill you.

The LEOPARD leans forwards and cups SARA's chin in his hand. This panel should be a close-up of their heads.

7. LEOPARD:

And perhaps I will send part of you back as a message to—

Same view. But now JAMES's gloved hand is clamped on the LEOPARD's wrist.

1. JAMES:

No. You won't.

This panel is a close-up of JAMES and the LEOPARD. Now that they are in close proximity it should be easy to see that the LEOPARD is at least as tall as JAMES and just as well-muscled. And now he has the upper hand -- literally. He has JAMES's arm grabbed in his own powerful fists, twisting the arm and bearing down on JAMES with his full weight. JAMES has been forced to his knees and speaks through gritted teeth.

2. LEOPARD:

You are a fool, boy. I have the power here.

3. JAMES:

I... have something... more important...

4. LEOPARD:

Really? And what is that?

A wider view to include SARA -- as she drives a powerful kick into the LEOPARD's stomach.

5. SFX:

WHUMP!

6. SARA:

Me.

JAMES is still on his knees but now so is the LEOPARD, doubled-up and hugging his stomach.

7. LEOPARD:

Kill them all.

A big action panel to show the LEOPARD's men obeying his orders and our team reacting defensively. One thug sprays bullets over the head of SARA as she dives for cover beside the throne. JAMES is rolling to the other side of the throne, one hand reaching for the SHIELD which the LEOPARD left there. JEROME is punching a thug either side of him. FRED has turned to deliver a low punch to a guard behind him. Other guards are raising guns or steeping forwards. It's going to turn into a big confused melee. Somewhere in the panel background, we see CHICO prudently sneaking off.

Each panel over the next few pages will just show a snapshot of one part of the action in a big, confused fight. We can assume that all the characters are in constant action, but we can't show everything. Extra bits can be shown in panel backgrounds where suitable. As much as possible, we need to show that although the thugs have a numerical advantage they are actually hampering each other and must resort to using fists as often as guns.

1. SFX (gunfire):

brrrratttt

2. SFX (JEROME):

SMACK! CRACK!

3. SFX (FRED):

THUMP!

4. SARA:

Oh, crap!

JAMES stands and raises his shield to deflect a hail of bullets aimed at him. Either by luck or uncanny skill, the ricochets cause another group of thugs to dive for cover to avoid being hit.

1. SFX:

ping! ping! ping! ping!

2. CAPTION (JAMES'S JOURNAL):

Too much stray gunfire. Someone's going to get hit.

JEROME has his sword in hand and is swinging it to keep a couple of thugs at bay -- while punching a different thug. We can see other thugs attempting to shoot him but he's staying too close to their comrades for them to get a clear shot.

3. SFX:

THUMP!

4. SFX:

CRACK!

FRED stands behind a thug, using him as cover. The thug is blazing away with an automatic weapon -- but at a group of thugs to his left. They are forced to dive for cover to avoid the wild fire.

5. FRED (thought):

Shoot to your left.

6. SFX (gunfire):

brrrratttt

7. FRED (thought):

Thank you.

SARA is rising to her feet after her dive for cover. She is looking up to see two thugs standing over her, each aiming a pistol at her head.

No dialogue.

Same view of SARA and the thugs. A SHIELD, thrown discus-style, has struck one thug in the head and bounced off to hit the second thug, then bounced back out-of-panel in the direction it came from. We see the SHIELD at the end of this flight path, with motion lines to indicate what it has done. The thugs are going down for the count.

1. SFX:

KRANG!

2. SFX:

WHANG!

3. CAPTION (JAMES'S JOURNAL):

I need to focus. Sara's power will protect her—

FRED is grappling with a thug, trying to wrestle a gun from him. Behind him, a pair of thugs spray bullets at his back -- but JAMES is leaping over and deflecting the bullets with his shield.

4. SFX (guns):

brrrratttt brrrratttt

5. SFX (shield):

ping! ping! ping! ping!

6. CAPTION (JAMES'S JOURNAL):

—But Fred's not equipped for this kind of fight.

JAMES dives across the room SHIELD-first and smashes into the pair of gunmen. His SHIELD takes the impact, knocking the thugs to the ground.

7. SFX:

SMASH!

Cut to CHICO, who has made his way to the back of the room near the doorway. (Note that we don't see through the doorway in this panel, we just need to be aware that the doorway is there.) Nobody is near him. He has his gun out and is aiming at someone in the room (we don't see who, due to our POV).

1. CHICO:

Oh yeah. Easy money.

We now see CHICO sighting down his gun and clearly lining up on SARA. She is struggling to defend herself in hand-to-hand combat with two big thugs and isn't aware of CHICO.

2. CHICO:

It's Chico ti—

From out of nowhere (ok, from the doorway which is now out of panel) a black fist smashes into the side of CHICO's head.

3. SFX:

THUD!

A wider view shows WANE standing in the doorway. CHICO is on the floor.

4. WANE:

Good thing you were all making so much noise. I got lost!

JAMES is judo-throwing an armed thug to the floor. He seems unaware that the LEOPARD has re-entered the fight and is behind him, about to drive a big, pointy spear through his back (remember the antique weapons hanging around the room?). Is spider-silk armour spear proof? Hmmm...

No dialogue.

Luckily we don't have to find out, as WANE comes flying into the panel feet first, kicking the LEOPARD hard.

1. SFX:

WHAM!!!

WANE and JAMES stand back to back. WANE faces the LEOPARD, who is climbing to his feet, while JAMES's SHIELD protects them both from more gunfire.

2. SFX:

ping! ping! ping! ping!

3. WANE:

Nice rescue, man.

4. JAMES:

I was going to say the same about you.

5. WANE:

I was talking about me!

Back to CHICO! Yes, he's on his feet, although his face is bleeding heavily. He still has his gun. And he's aiming. Our POV lets us see his target -- WANE. And WANE is unaware of it: he's face-to-face with the LEOPARD and not looking in CHICO's direction. JAMES is still at his back, but he's dealing with another thug and also not looking in CHICO's direction. It's difficult to see how CHICO can miss.

6. CHICO:

Think you're such a hero? Think you're better than us? You used to be one us.

7. CHICO:

But not now.

8. CHICO:

Time to finish this, hero.

SARA has turned and seen CHICO. She's too far away to stop him.

1. SARA:

No!

Instead of trying to stop CHICO, she runs towards WANE.

2. SARA:

Look—

SARA is leaping at WANE. He has turned at her shout but still doesn't seem to see the threat. He's looking at her.

3. SARA:

—Out!

4. WANE:

Wha—?

Close up of CHICO pulling the trigger. Big muzzle flash.

5. SFX:

BOOM!

SARA smashes into WANE, knocking him sideways and hopefully out of the line of fire.

No dialogue.

WANE has been knocked to the floor. SARA stands where he was. She's clutching her stomach. Her eyes and mouth are open wide with shock and surprise. A large red stain is spreading across the front of her shirt.

No dialogue.