New Blood

Close-up of WANE in the passenger seat of the RV. It's early morning (as we will be able to tell better when we have an outdoor view).

1. CAPTION:

West Texas.

2. CAPTION:

Saturday December 6, 2014.

3. CAPTION (WANE's monologue):

So here's how it is. I'm on the run from the crime boss of San Diego, who wants me killed to stop me testifying against him in court.

A wider view includes SARA driving the vehicle.

4. CAPTION (WANE's monologue):

For a bit of protection, I hooked up with this group I only just met. Except they're being hunted too, by a group of werewolves working for the government.

5. CAPTION (WANE's monologue):

Yeah. Like I really believe that.

Exterior view of the RV driving down a deserted road in the middle of a desolate part of Texas. Bare rocks, a few scrub bushes, hills in the background. Note that in this view of the RV, and other exterior views when appropriate, we will see FRED's motorcycle on the rack on the back. (We need to establish this because it has not been shown in recent issues that he's still got his motorcycle, and he's going to be using it later this issue.)

6. CAPTION (WANE's monologue):

And now we're trekking across the country in a motor home. In the middle of nowhere, heading God knows where, and not a diner in sight.

Still in exterior view. But now a police car is following them with lights flashing.

7. SFX:

wooooo-woo-wooooo-woo-woooo-

8. CAPTION (WANE's monologue):

And now the cops are after us.

The RV has pulled up to the side of the road. The police car has stopped behind them and two officers are walking towards the RV. We don't necessarily see them clearly yet (our POV is probably from behind) but I'll describe them now for future reference. The SHERIFF is in his 40s, tall, lean, blond (though wearing a hat, of course) and weather-beaten. He's always chewing on a tooth pick. He is SHERIFF BOB FRIENDLY. His DEPUTY is a Native American, maybe 10 years younger than the SHERIFF. This is DEPUTY JOE STRAIGHT-ARROW.

9. CAPTION (WANE's monologue):

Funny, my high school principal always predicted I would end up like this.

FRIENDLY approaches the driver's door and looks up at SARA. She looks down through the open window.

1. SARA:

Is there a problem, officer?

2. FRIENDLY:

Mighty big rig for a li'l lady. How old are you?

3. SARA:

Nineteen.

4. FRIENDLY:

Is your daddy in back?

WANE is now leaning over to see past SARA.

5. SARA:

No.

6. FRIENDLY:

Who's that?

7. SARA:

A friend.

8. CAPTION (WANE's monologue):

Great. A redneck sheriff. He's probably in the Klan.

9. CAPTION (WANE's monologue):

Why am I here?

10. CAPTION (WANE's monologue):

Where are we, anyway?

Close up on FRIENDLY holding up his hand.

11. FRIENDLY:

License and registration.

Wider view to show the side door of the RV in the background. As SARA hands the relevant papers to FRIENDLY, PAUL emerges from the side door.

12. PAUL:

What's the problem, officer?

FRIENDLY hands SARA's documents to STRAIGHT-ARROW.

13. FRIENDLY:

Routine check, sir. Reports of fugitives in this area.

PAUL is now standing on the ground and FRED and JAMES crowd the door behind him. All three exchange nervous looks.

No dialogue.

STRAIGHT-ARROW has a hand-held device (PDA) which is he showing to FRIENDLY (he has SARA's ID in his other hand -- we can assume he's been checking it).

1. STRAIGHT-ARROW:

Sheriff.

2. FRIENDLY:

Well, now.

FRIENDLY looks back up at SARA, his hand deliberately resting on his (holstered) gun. PAUL steps forwards angrily.

3. FRIENDLY:

I'll have to ask you to step out of the vehicle, ma'am.

4. PAUL:

Now what the hell is this?

FRIENDLY turns towards PAUL. In the background SARA climbs out of the RV, watched by STRAIGHT-ARROW.

5. FRIENDLY:

Are you this girl's legal guardian?

6. PAUL:

...

7. PAUL:

No.

8. FRIENDLY:

Then I'll have to ask you to step aside, sir.

Same POV. In the background, STRAIGHT-ARROW is escorting SARA towards the police car, a heavy hand on her shoulder. She looks back helplessly towards her friends.

9. FRIENDLY:

There's a problem with her ID but I'm sure we'll clear it up in two minutes, soon as I check it with the FBI.

10. FRIENDLY:

Nothing to worry about.

PAUL, JAMES, and FRED watch helplessly as STRAIGHT-ARROW pushes SARA into the back of the police car.

1. PAUL:

Where are you taking her?

2. FRIENDLY:

My office. Town of Valentine, five miles straight on. You can follow us in if you want.

3. JAMES:

We'll be right behind you, Sara.

WANE has joined the three on the ground as they watch the police car drive away (in the direction they were previously heading).

4. PAUL:

What the hell was that? We got these IDs from Don's people. He swore they were airtight.

5. FRED:

Come on. We need to stick close to her.

6. WANE:

Wait a minute — you guys all have fake IDs?

7. CAPTION (WANE's monologue):

What am I doing here?

In the RV, JAMES is in the driver's seat, PAUL next to him, and the other two crowding behind the front seats.

8. JAMES:

We don't need to worry. Her power will keep her safe.

9. JAMES:

So let's not rush in and do something stupid.

10. FRED (softly):

Oh, that's a new approach for us.

The RV drives past a peeling sign which reads: "VALENTINE COUNTY PLEASE DRIVE CAREFULLY". Below that it says: "POPULATION 219". The 219 has been crossed out and replaced by a crudely-painted 217. Which has been crossed out and replaced by 214. Which has been crossed out and replaced by 213.

11. JAMES (from vehicle):

I'm sure we can sort everything out as soon as we talk to her.

The exterior of the VALENTINE COUNTY SHERIFF'S OFFICE (as we can tell by a painted sign). It's a small, non-descript building, looking just how you would expect a small-town sheriff's office to look. There are two police cars outside. (The RV is also parked outside but does not have to be in the panel.)

1. VOICE (from building):

What do you mean, we can't talk to her?

Interior of the building. It's not a massive office. Two cluttered desks (FRIENDLY sits at one, with STRAIGHT-ARROW at the desk off to one side), seats for visitors, and several filing cabinets. Doors lead to other parts of the building. JAMES, PAUL, FRED, and WANE stand in front of FRIENDLY's desk.

2. FRIENDLY:

Sorry, son. Orders from high up. I've got to hold her 'til the FBI gets here.

3. JAMES:

We just want to talk. Just to see that she's ok.

4. FRIENDLY:

No can do.

Same scene (but shown from a different POV, for visual variety).

5. PAUL:

Has she seen a lawyer?

6. FRIENDLY:

The only attorney in town's gone fishing.

7. JAMES:

What about her right to a phone call?

8. FRIENDLY:

She waived the right.

FRED lurches forwards and is held back by JAMES and WANE. (We only need to show the three of them in this panel.)

9. FRED:

That's bull—

10. WANE:

Whoa!

11. JAMES:

That's not going to help.

The four of them are emerging from the building.

12. FRED:

That was so bogus.

13. JAMES:

I know. That was nothing like proper procedure.

Close-up as they pause at the door to the RV.

1. WANE:

What are we going to do?

2. FRED:

Well none of us can afford to deal with the FBI.

3. PAUL:

I'm not so sure the FBI is coming. Something isn't adding up, is it?

4. JAMES:

All right. Let's look around the town. Be discrete but try to find out—

5. FRED:

—Why they've got a crooked sheriff.

Back inside the sheriff's office, FRIENDLY and STRAIGHT-ARROW are still at their desks.

6. CAPTION (voice-over):

"Well I wasn't going to put it exactly like that..."

7. STRAIGHT-ARROW:

I don't like it, Sheriff. They could be trouble.

8. FRIENDLY:

Relax, Straight-arrow. There's no way they're going to report this. Did you see them flinch every time I even mentioned the FBI?

9. FRIENDLY:

Unless you've got any better ideas of where we'll get a girl for tonight?

Close-up on Straight-arrow's troubled face.

10. STRAIGHT-ARROW (softly):

No.

11. FRIENDLY (off-panel):

You know I'm doing the right thing for the town. And if these drifters cause us trouble—

Close-up on FRIENDLY's hand as he lays his big, heavy revolver on his desk, next to the brass name-plate which reads "SHERIFF BOB FRIENDLY".

12. FRIENDLY:

—Well we'll just have to deal with them... lawful, like.

PAUL and JAMES are in the back of the RV. JAMES reads a newspaper -- we can see the name "THE VALENTINE COUNTY COURIER". PAUL is reading from his laptop.

1. PAUL:

The town has a history of brutal murders and disappearances stretching back two centuries. Nothing in recent years, though.

2. JAMES:

Doctor, I hardly think a two-hundred-year-old serial killer is—

PAUL looks over at JAMES, who has lowered the newspaper to look back at him.

3. PAUL:

I'm not suggesting anything like that. It's just an interesting historical note.

4. JAMES:

But not likely to help Sara.

5. JAMES:

Sorry, Paul. I'm just—

FRED is entering through the vehicle's side door.

6. PAUL:

It's ok. I know.

7. FRED:

That was a complete waste of time!

8. JAMES:

Where have you been?

FRED is sitting in a chair and taking out a cigarette.

9. FRED:

Watching for the Sheriff to leave, so I could read his mind.

10. FRED:

But I got nothing. It's like he's actively avoiding thinking about what's going on.

11. FRED:

And if I try to dig deeper, he'll be aware of it. And as that will likely make things worse, I'll save it 'til we're out of other options.

PAUL is standing and picking up his coat.

12. FRED:

Oh, but Wane has found somewhere we can eat.

13. PAUL:

Let's go. Somebody in this town must know something.

The exterior of a small, single-storey family home, apparently some way out of town. The sheriff's car is parked in front.

1. VOICE (from house):

We've found one, Reede.

Interior of the house -- a spacious living room, uncluttered by furniture. SHERIFF FRIENDLY talks to another man, DOCTOR REEDE. REEDE is about FRIENDLY's age, good looking but with a perpetual frown, casually dressed. He's handing FRIENDLY what looks like a glass of whisky.

2. REEDE:

A girl? Traveling alone?

3. FRIENDLY:

Teenager. Not alone but her friends won't cause us any trouble.

4. REEDE:

You're sure?

Close-up on REEDE as he pours his own drink from a half-empty whisky bottle. His hands should be portrayed as shaking a little -- probably spilling a bit of the drink.

5. FRIENDLY (off-panel):

I'll make sure. Tonight is the night, isn't it?

6. REEDE:

Y-yes. I think it will be.

7. FRIENDLY (off-panel):

So it's her or one of us. And I won't lose any of us. Not again.

The two men face each other again.

8. REEDE:

I wish to God we didn't have to make the choice.

9. FRIENDLY:

But we do. And we all have to pull together. At least until we figure this thing out.

10. VOICE (off-panel):

Dad? What are you talking about?

In a wider view, we see a boy has entered the room. This is PETER REEDE. He's in his mid-to-late teens and has some resemblance to his father. He is in a wheelchair. Both men are looking at him.

11. REEDE:

Nothing, Peter. Just business. Go to your room.

12. FRIENDLY:

Hi, Petey. How are you?

13. REEDE:

Go to your room, Peter.

PETER has left the room. The two men look at the closed door which he has evidently left through.

1. FRIENDLY:

You don't have to be so hard on him, Reede.

2. REEDE:

And you don't have to tell me how to treat my boy.

REEDE turns angrily to FRIENDLY.

3. REEDE:

Or is it because you're still guilty over putting him in that wheelchair?

FRIENDLY throws back his drink.

4. FRIENDLY:

I feel guilty every damned day of my life.

FRIENDLY slams his glass down on a table.

5. FRIENDLY:

Sometimes I think our curse is God's punishment on me for hitting Petey that night.

6. SFX (glass):

THUD

FRIENDLY is leaving by the front door. REEDE looks after him.

7. REEDE (softly):

If only you knew, Bob. If only...

WANE, JAMES, PAUL, and FRED sit at a table in a small bar/restaurant. A waitress (tired-looking woman in her 50s) is putting four plates down. The plates are laden with steaks, eggs, fries, etc.

1. WAITRESS:

Four specials.

2. JAMES:

Thank you.

3. CAPTION (WANE's monologue):

It's about time! The worst thing about being on the run is that I missed breakfast.

4. WAITRESS:

You boys just passing through?

PAUL looks up at the WAITRESS.

5. PAUL:

Why, yes. We were wondering, can you recommend any local—

6. WAITRESS:

I recommend you keep on passing.

Of the four of them, only WANE appears to be ignoring the waitress (he's started on his steak).

7. JAMES:

Not an option. One of our friends just got herself arrested.

8. WAITRESS:

Herself?

9. JAMES:

Yes.

The waitress walks away.

10. WAITRESS:

Ah well, sorry to hear that.

Close-up on FRED's eyes, which show the retreating figure of the waitress.

11. WAITRESS (thought):

Lord help her.

FRED is standing. WANE has a fork-full of steak half way to his mouth when FRED hauls on his arm, dragging him out of his seat.

1. WANE:

Wha—?

2. FRED:

Come on, I need your help. I want to check something out.

3. JAMES:

Keep in touch.

4. FRED:

Sure.

FRED and WANE are walking down the street. We can probably see more of the town now, in the background. Like the other buildings we've seen so far, the houses are generally old and pretty run-down.

5. CAPTION (WANE's monologue):

All right! Now I feel like part of the team!

6. WANE:

What do you need me for?

7. FRED:

I need someone to watch my back, but Captain Boyscout would freak if he knew I was breaking into the jail.

The back of the police station. (The reader won't necessarily know that's what it is, but it will hopefully become obvious from context.) It's a solid wall, no obvious door. There is a small barred window, set slightly above head height. There is nobody in sight.

8. CAPTION (voice-over):

"We're breaking into where?"

9. CAPTION (voice-over):

"Shhh!"

Same view. FRED and WANE poke their heads around the corner of the wall.

No dialogue.

FRED and WANE are under the window. They look furtively around.

1. CAPTION (WANE's monologue):

Somebody should tell these people that when you're on the run you need to keep a low profile.

2. WANE:

What can I do?

3. FRED:

Boost me up to the window.

SARA sits on a bed in a barred cell. Knees are drawn up and head down.

4. FRED (off panel):

Psst! Sara!

Close-up on FRED's face looking in through the barred window.

5. FRED:

Are you ok?

6. SARA (off panel):

Yes, I—

7. FRED:

Don't speak, I'll—

8. FRED:

—Can't you keep still? I'm concentrating!

Close-up of WANE, who is crouching with FRED standing on his shoulders.

9. CAPTION (WANE's monologue):

It's nice to feel useful.

Abstract panel of SARA and FRED facing each other. Just head and shoulders in profile on a black background. (This should let us interleave their telepathic dialogue in the space between them.)

1. FRED (thought):

Are you ok?

2. SARA (thought):

They haven't hurt me and they've fed me. But they wouldn't tell me why they're holding me. And they wouldn't allow me a phone call.

3. FRED (thought):

Are they holding you for the Krai?

4. SARA (thought):

From what they said, I don't think so. They want me for something themselves.

5. FRED (thought):

Like what?

6. SARA (thought):

I don't know. But something's going to happen tonight. They're taking me somewhere, that's all I overheard.

The interior of the same cell, but with a different occupant. It's a young woman, about SARA's age but obviously not her (she has short black hair, worn and tattered clothing). She is screaming and struggling as she is being dragged from the cell by FRIENDLY and STRAIGHT-ARROW. The scene takes place at night (it's not important if that isn't obvious in this panel, but it means that there shouldn't be any light from the window).

7. WOMAN (screaming):

EEEEEEEEEEEEEEEEEEEEEEEEEEEEE!

Outside the cell, FRED is falling backwards off WANE's shoulders, flailing his arms. WANE hasn't moved and has obviously been taken by surprise by the fall.

8. FRED:

Whahhhhhh!

FRED half-sits, half-lies on the ground. WANE is standing.

9. WANE:

Jeez! Dude, don't you know anything about sneaking around?

10. FRED (thought):

Hang tight, Sara. We'll get you out of this soon.

WANE pulls FRED to his feet.

11. FRED:

Sara's not the first girl they've done this to.

12. FRED:

We need to find out where they're taking the girls but it's too risky for me to pull that sort of thing out of their minds—

13. WANE:

Say what?

14. FRED:

—without them feeling it.

At the front of the sheriff's office. Only one police car is currently parked there and WANE casually walks down the sidewalk towards it. He will be passing the driver's door and we might see that the window is open.

1. CAPTION (voice-over):

"Sooo... how are you at breaking into cars?"

WANE stands by the driver's door and looks around.

2. CAPTION (WANE's monologue):

Used to be my specialty, before I cleaned up my act.

WANE's arm reaches through the open window. We don't need to see exactly what he does.

3. CAPTION (WANE's monologue):

Don't think I should tell my new friends that, though.

WANE saunters casually away from the car. His hands are in his pockets.

4. CAPTION (WANE's monologue):

Even though I get the feeling Fred wouldn't care.

5. CAPTION (WANE's monologue):

I think he's testing me.

JAMES and PAUL enter the RV to find FRED and WANE sitting at the back table. FRED is fiddling with a small gadget.

1. PAUL:

Something weird's happening in this town but we don't know what.

2. JAMES:

What's that, Fred?

3. FRED:

The SatNav from the sheriff's car.

4. JAMES:

I'm going to pretend I didn't hear that.

FRED is walking past JAMES, to the RV's door. WANE is also standing.

5. FRED:

I don't know what they're doing but now I know where they're doing it.

6. FRED:

I'll be back later.

7. WANE:

What about me?

8. FRED:

Oh yeah—

At the door, FRED has turned and is tossing the SatNav device to WANE.

9. FRED:

—You can put this back now.

10. CAPTION (WANE's monologue):

Gee, thanks.

11. CAPTION (WANE's monologue):

Why is James looking at me like that?

Outside, FRED is on his motorbike and driving away from the RV.

12. VOICE (from RV):

It's not my fault!

The reception area in an office building. Grey carpets, white walls, regulation potted ferns -- the place just screams bureaucratic efficiency. Two people are standing by an open door. One is STEPHANIE ELLIOT, the Director of the FBI, who readers should recognise from previous issues (most recently ISSUE 37). She has a coat over her business attire and is carrying a briefcase. She shakes hands with a man in the doorway (it's evidently his office and she's just leaving). He is of medium height, comfortably overweight, late 50s, hairline receding rapidly, wearing a dark suit. He is EDWARD MALLARD, as the dialogue will soon reveal to our readers.

In the background of the scene is a receptionist (female) behind a desk, typing at a workstation. Next to her are a number of chairs, presumably for visitors. On one of them sits a man reading a newspaper. Our view of him is blocked by the newspaper.

1. CAPTION:

Interlude: Central Intelligence Agency headquarters, Langley, Virginia.

2. ELLIOT:

I'll be in touch when the first committee session is scheduled. Thank you for your co-operation, Mr. Mallard.

3. MALLARD:

My pleasure, Director Elliot.

Same scene. MALLARD is entering his office and shutting the door behind him. ELLIOT is walking away down a corridor. Neither of them are looking at the seated man who has lowered his newspaper so the reader can see him -- it's DON.

No dialogue.

MALLARD is seated at his desk. It's a very tidy desk -- in fact the entire office is clinically neat and precise. His head is down while he studies some papers. A pen is in his hand.

4. DON (off-panel):

Are there Krai shape changers working for the government, Ed?

MALLARD looks up. He has an angry scowl.

5. MALLARD:

Newman, how the hell did you get in here?

In a wider view, we see DON on the other side of MALLARD's desk.

6. DON:

I've still got friends in the intelligence community.

7. DON:

Now answer the question.

Same view.

1. MALLARD:

Or what? You and your friends will beat me up?

2. MALLARD:

If you'd taken the CIA job when DICE folded—

3. DON:

When your bean-counters shut it down!

MALLARD waves a hand dismissively.

4. MALLARD:

DICE was an irrelevance when we shut it down. A revenue drain that the United States didn't need.

5. DON:

No, not when you could replace it with hybrid Krai super soldiers.

Close-up on MALLARD.

6. MALLARD:

I have nothing to do with that project.

7. DON (off-panel):

So you admit there is a project?

8. MALLARD:

I admit no such thing.

DON rests his hands on the desk and leans right over to speak close to MALLARD's face.

9. DON:

They're kidnapping children, Ed.

10. DON:

Damn it, the government is employing Krai to kidnap human children!

Same positions. MALLARD has dropped his gaze to look at his desk.

11. MALLARD (softly):

They call them K-Men.

12. DON:

K-Men. Tell me how I can find them.

13. MALLARD:

I've told you all I can.

A flashback panel to DON fighting K-MEN in their wolf forms -- a scene from ISSUE 10 would be appropriate. The exact detail isn't important -- it's just to break up the visual monotony of the talking heads. This should be a fairly big panel, to fit in a lot of exposition captions.

1. CAPTION (DON's voice-over):

"Then let me tell you about them."

2. CAPTION (DON's voice-over):

"They're Krai-human hybrids, genetically engineered from American servicemen's children."

3. CAPTION (DON's voice-over):

"They're superhumanly strong and fast."

4. CAPTION (DON's voice-over):

"They've been raised in military families and given military training."

5. CAPTION (DON's voice-over):

"They've been set loose on American soil."

6. DON:

"And they're killers."

Same view, but now MALLARD looks directly at DON.

7. MALLARD:

Then you tell me, Newman. How many government scientists could possibly understand enough Krai genetics to create these hypothetical super soldiers?

Same positions. DON looks blank.

No dialogue.

Same positions, as realisation dawns on DON's face.

8. DON:

Henry Franklyn.

DON is paused at the office door.

9. MALLARD (off-panel):

I'm sure you can find your own way out.

10. DON:

I owe you one, Ed.

11. MALLARD (off-panel):

I haven't got a clue what you're talking about.

FRED is on his bike, halted at the top of a low bank. His helmet is off as he surveys the terrain. The bank is actually the side of a wide, shallow ravine -- perhaps a dried up river. The banks and the floor of the ravine are sandy and strewn with rocks. There is some straggly vegetation but the area is otherwise pretty desolate and forbidding. The bank is not high but it is steep and rocky enough that it doesn't appear possible to get his bike down it. Note that the sun is low on the horizon.

No dialogue.

FRED is walking/sliding down the bank, kicking up a cloud of sand and stones.

No dialogue.

He stands at the bottom of the ravine in front of a large slab of exposed rock sticking out of the bank. The rock is obviously a natural formation and has one roughly flat face, approximately 2m high by 1m wide, at an angle of about 45 degrees. There are rusty iron chains fastened to the rock by big bolts -- one at each of the top corners. The chains end in iron bands which might clamp around... oh... a human wrist, for example. Part of the slab is covered by a dark stain.

No dialogue.

FRED is leaning over the slab and scratching at the dark patch with his pocket knife.

1. FRED:

What the hell is that, blood?

FRED stands with his back to the slab, looking down the ravine, frowning.

No dialogue.

FRED walks along the ravine, eyes fixed on the ground.

No dialogue.

FRED has dropped to his knees and is scraping at a patch of soil, digging into it with his hands.

No dialogue.

FRED has dug a small hole in the ground to reveal the arm of a buried human corpse. It's virtually a skeleton but with the tattered remains of what may have been skin or clothing still clinging to it. Very gruesome.

No dialogue.

FRED reaches out and touches the arm with a fingertip.

1. DISEMBODIED THOUGHT:

Eeeeeeeeeeeeeeeeeeeeeeeeeeee

FRED recoils from the arm.

2. FRED:

Aaaaa!

FRED sits on the ground, arms hugging his drawn-up knees, face bathed in sweat.

1. FRED (softly):

Frikkin' psychometry.

FRED is walking back down the ravine. His phone is at his ear.

2. FRED:

Listen, get Sara out of there.

3. FRED:

I'll meet you in town and we'll bug out.

He is now running. Still talking on the phone.

4. FRED:

I don't care what you have to do to the sheriff. Just get her out.

5. FRED:

Now!

He's scrambling up the bank he climbed down before.

No dialogue.

On his bike, he roars off away from the ravine, wheels kicking up sand and stones.

6. SFX:

VRRRRRRMMMMMMMMMMMMM

JAMES, PAUL, and WANE burst into the sheriff's office. The office is empty. (JAMES is carrying the case which holds his SHIELD).

1. JAMES:

Sheriff—

2. CAPTION (WANE's monologue):

I don't know what's going on here but it doesn't sound good.

Now WANE is in the lead as they race into the corridor which leads to the cells. JAMES has the SHIELD in his hand (having dropped the case) and is using his free hand to pull up his cowl to cover his head.

3. CAPTION (WANE's monologue):

Sara took a bullet for me two days ago. And I'm not going to let any redneck sheriff—

The reach the door to SARA's cell -- and it stands open. The cell is deserted.

No dialogue.

WANE stands in the cell doorway, JAMES and PAUL close behind him.

4. WANE:

We're too late.