This issue takes place immediately after the close of issue 51 and all characters will be dressed as we last saw them. It is a cold night in New York in mid-December.
Narration in this issue is in the form of Sara's internal first-person monologue (which should be indicated on panel by a distinctive "hand-writing" lettering). These captions will be marked "Sara's monologue" in the script.
A completely black panel
1. DISEMBODIED VOICE #1:
2. DISEMBODIED VOICE #2:
The panel now has a horizontal slit of light, as if our POV is through a barely-open eye. In the slit we see the fuzzy outline of a face—Wilson's face. Wilson is a young teenage boy, thin and pale. He is wearing several layers of old, badly-repaired, dirty clothing—the kind of clothing you might wear if you were homeless and penniless.
3. DISEMBODIED VOICE #1:
4. WILSON:
Our POV has changed to a view of Wane and Wilson. They are in a small, dark room. It looks like a filthy loft, with low ceilings, peeling walls, and some small pieces of ramshackle furniture. There are a couple of skylights through which dim light filters, but they aren't wide enough for a man to escape through. Wane is lying on a small cot, with Wilson leaning over him.
5. WANE:
Wane is sitting up on the bed, cradling his head in his hands.
6. WANE:
7. WILSON:
8. WANE:
Wane is standing, though he's holding the wall for support.
9. WILSON:
10. WANE:
Close-up on Wane.
11. WANE:
12. CAPTION (SARA's MONOLOGUE):
A big splash panel showing PAUL in combat with a TROLL. Paul has barely dodged the Troll's punch, and the Troll's fist is embedded wrist-deep in the bricks of the wall next to Paul's head—a good thing that Paul did dodge, it seems!
The scene is the same corridor as PAGES 19 and 20 of LAST ISSUE. SARA and FRED are here, as well as the second Troll, but they won't be shown in this panel as this view is only concerned with Paul and his attacker.
1. CAPTION (SARA's MONOLOGUE):
2. SFX (PUNCH):
5. CAPTION (SARA's MONOLOGUE):
Paul raises his hand in a placating gesture as the Troll pulls his fist out of the wall, showering him with brick dust.
1. PAUL:
2. DISEMBODIED THOUGHT:
A wider view includes Fred and Sara.
3. FRED (THOUGHT):
Close-up on Fred's eyes, showing the Troll's face reflected in them.
4. FRED (THOUGHT):
5. CAPTION (SARA's MONOLOGUE):
This panel is from Paul's POV and shows the Troll's fist flying straight towards him. The fist fills the entire panel, as if it's filling Paul's field of view (i.e. he's a microsecond from being turned into jelly).
6. CAPTION (SARA's MONOLOGUE):
A big dynamic panel shows the Troll's full-power blow landing on Paul's face—and stopping dead. There is no caved-in face, no blood. Paul doesn't even flinch.
1. SFX (PUNCH):
2. CAPTION (SARA's MONOLOGUE):
The Troll looks incredulous at the unharmed Paul/Jesse. Yes, Paul has changed to his JESSE personality, as Sara is helpfully about to explain.
3. CAPTION (SARA's MONOLOGUE):
4. TROLL:
5. CAPTION (SARA's MONOLOGUE):
6. JESSE:
7. CAPTION (SARA's MONOLOGUE):
Jesse punches the Troll on the jaw—to no effect. The Troll barely blinks.
8. JESSE:
9. CAPTION (SARA's MONOLOGUE):
The Troll swings at Jesse/Paul—who this time does dodge, as he has now become JEROME.
1. CAPTION (SARA's MONOLOGUE):
Jerome delivers a straight-fingered jab to the Troll's throat.
2. CAPTION (SARA's MONOLOGUE):
With the Troll holding his throat and gasping, Jerome finishes him off with a high spinning kick to the head.
3. CAPTION (SARA's MONOLOGUE):
4. SFX (KICK):
Now the POV switches to show SARA and the second Troll. The Troll has grabbed her arm.
5. SARA:
6. CAPTION (SARA's MONOLOGUE):
Without anyone laying a hand on him, the second Troll is falling to the floor.
1. DISEMBODIED THOUGHT:
2. CAPTION (SARA's MONOLOGUE):
Sara, Paul, and Fred stand over the two unconscious Trolls. (Paul is Paul again, so his captions will be labeled suitably.)
3. SARA:
4. PAUL:
5. MUSIC (from SARA's jeans pocket):
Close-up of Sara taking her phone from her jeans pocket.
6. SARA:
JAMES, in full costume, somewhere in a darkened city street. He is talking on his phone.
7. JAMES:
Close up of James on the phone.
8. JAMES:
9. JAMES:
10. JAMES:
The room where Wane and Wilson are held. Wane is by the door, his ear pressed to it. It's a pretty solid-looking door. Wilson hovers in the background.
1. CAPTION (VOICE-OVER, continuing JAMES's speech):
2. WANE:
3. WILSON:
Wane has turned away from the door.
4. WANE:
5. WANE:
Wilson looks incredulous at the door.
6. WILSON:
7. WANE:
Wane sits on the bed.
8. WANE:
9. WILSON:
10. WANE:
Wilson sits next to Wane.
11. WILSON:
12. WILSON:
Back to Sara, Paul and Fred. Sara is still talking on the phone. Fred is squatting next to one of the downed Trolls.
1. FRED:
Close-up on Sara.
2. SARA:
3. SARA:
Fred is standing and facing Paul.
4. FRED:
5. PAUL:
6. FRED:
Sara is putting the phone away.
7. SARA:
8. FRED:
9. SARA:
Sara and Paul exchange a look.
No dialogue.
The three of them again.
PAUL:
FRED:
PAUL:
Close up on Fred, who looks belligerent and ready to argue.
CAPTION (SARA's MONOLOGUE):
CAPTION (SARA's MONOLOGUE):
CAPTION (SARA's MONOLOGUE):
CAPTION (SARA's MONOLOGUE):
PAUL (off-panel):
Close-up on Paul.
PAUL:
Fred walking away from our POV.
FRED:
Paul is standing outside a door marked "PRIVATE" and knocking.
SFX:
VOICE (through door, whispering):
Paul enters SUZI G's dressing room. Suzi is here alone, sitting on a couch. She still wears her stage clothes and make-up from LAST ISSUE, including the scarf at her neck. Her sleeves are long but loose—I didn't specify this last issue, but it is important.
PAUL:
SUZI (whispering):
PAUL:
PAUL:
Paul is standing next to the couch.
SUZI (whispering):
PAUL:
SUZI (whispering):
Paul is now sitting next to Suzi. He gestures at her throat.
PAUL:
SUZI (whispering):
SUZI (whispering):
Paul has gripped Suzi's wrist and has pushed her sleeve up. Close-up on the line of needle marks running up her arm.
PAUL:
SUZI (whispering):
SUZI (whispering):
Close up on Paul's face, realisation dawning as he puts two-and-two together.
PAUL:
This is a page of virtually identical, static panels, showing Sara and Fred in the back of a cab. The POV is from in front of them, and each panel should be full-page width, one above the other like a series of strips.
Sara and Fred sit in the back of a cab.
SARA:
FRED:
Identical view. Sara looks straight ahead, not at Fred.
No dialogue.
Same view. Sara still isn't looking at Fred.
SARA:
FRED:
Same view. Now they are looking at each other.
SARA:
FRED:
FRED:
Same view.
SARA:
FRED:
SARA:
FRED:
Same view. Now they are not looking at each other again.
FRED:
Identical view.
No dialogue.
Same view. Sara still isn't looking at Fred.
FRED:
CAPTION (SARA's MONOLOGUE):
The cab is stopped in a deserted street in a rough neighbourhood. They are both out of the cab, Sara looking round while Fred pays the driver.
1. SARA (softly):
The cab is driving away. Fred has two fingers in his mouth, whistling.
2. SFX (whistle):
James steps out from a narrow alley.
3. JAMES:
4. FRED:
5. JAMES:
Close up of Fred rolling his eyes.
No dialogue.
Close-up of Fred giving Sara a pointed look (a "listen to my subtext" sort of look) (whatever that is).
6. JAMES (off-panel):
7. FRED:
Wide view of the three of them again.
1. JAMES:
2. FRED:
Close-up of Fred's eyes, with Wane's face reflected in them.
3. FRED:
4. FRED:
Cut to the room where Wane and Wilson are still locked. Wane is facing the door, poised ready for action.
5. WANE:
6. WILSON:
7. WANE:
Wane has launched himself in a flying drop-kick at the door, smashing it right open.
8. WANE:
9. SFX:
Back to Fred's eyes.
1. FRED:
Fred begins walking down the street, followed by James and Sara.
2. JAMES:
3. FRED:
4. SARA:
5. FRED:
In a big action panel, Wane is fighting three guards—typical Temple thugs as seen LAST ISSUE. One is already on the floor and Wane is kicking a second in the head, but the third is swinging a length of pipe at his head from behind.
6. FRED (voice-over):
Back to Paul and Suzi G in her dressing room, sitting on the couch.
1. PAUL:
2. SUZI (whispering):
3. PAUL:
Suzi has stood and is walking away from Paul.
4. SUZI (whispering):
Paul has stepped behind Suzi and put his hand on her shoulder.
5. PAUL:
Suzi turns to search Paul's face. puzzled.
6. SUZI (whispering):
7. PAUL:
8. PAUL:
Paul and Suzi sitting on the couch again.
9. PAUL:
10. SUZI (whispering):
Cut back to Wane's fight. He has seen the threat from behind and has spun to kick the pipe out of the thug's hands.
No dialogue.
A second kick knocks the thug down, unconscious.
1. SFX:
As Wane turns away, thinking he's dealt with all the opponents, a fist smashes into his unprotected face. The fist is on the end of a big, muscular arm.
2. SFX:
Wane is lying on the floor, stunned, looking back up at his attacker. The attacker (who we will simply call "thug" for now) looks like the other Temple thugs but bigger and beefier. He sneers down at Wane as he tears — literally tears — open his own shirt, revealing a bare torso with bulging muscles.
3. THUG:
The first two panels will be larger, to allow some dialogue, and the remainder of the panels on this page will be smaller to give the impression of fast-paced action.
The thug's rant and shirt tearing is interrupted by Wane's foot connecting with his face.
1. THUG:
2. SFX:
The thug is staggering back, nose bloodied and face contorted with rage. Wane is on his feet and facing him, ready for more action.
3. WANE:
4. THUG:
The thug delivers a combination of punches to Wane's head and body.
No dialogue.
Wane tries a one of his trade-mark spinning kicks, which the thug easily deflects with a forearm block. It actually looks like Wane might be outclassed here.
No dialogue.
Wane goes down from a straight jab.
No dialogue.
From the floor, Wane sweeps the thug's legs with another kick, knocking the thug off balance.
No dialogue.
Wane has sprung to his feet. The thug is climbing somewhat slower to his own feet, being currently on his knees (he might be stronger and more skilled but he doesn't have Wane's athleticism).
No dialogue.
With the thug still on his knees, Wane delivers a knockout kick to his head.
No dialogue.
A door bursts open and James comes crashing into the room. Wane is standing, bloody but victorious, and the thug is lying motionless.
1. SFX:
2. JAMES:
3. WANE:
Wane, James, Fred and Sara are standing in the room, surrounded by unconscious thugs.
4. JAMES:
5. WANE:
6. WANE:
Wilson pokes his head around the door.
7. WILSON:
8. WANE:
Wane claps Wilson on the back.
9. WANE:
James puts his hand on Wilson's shoulder and looks down at him (James is a good foot taller). Wilson looks up at him like James is from another planet (sometimes I think he probably is).
10. JAMES:
11. WILSON:
12. JAMES:
13. WILSON:
Wane, Sara and Fred are all laughing at this. James just looks like the joke went right over his head.
1. SFX:
2. JAMES:
James is walking from the room, through the door he smashed in.
3. JAMES:
Sara follows James from the room, leaving Wane and Fred with Wilson. Wane looks at Fred, gestures at the big thug with the ripped-open shirt, and taps his temple with the forefinger of his other hand.
4. CAPTION (SARA's MONOLOGUE):
5. WANE:
6. FRED:
Close up on the thug. His torn shirt allows us to see his bare upper arm, which has a tattoo on the right upper bicep — a circle with a line through it, like the Norwegian letter Ø
7. FRED (OFF-PANEL):
It's daylight, the following morning. Don Newman stands on the sidewalk by the door of a boarded-up shop. The door is ajar and Don is looking in through the opening.
1. DON:
2. VOICE (from inside):
Interior, the basement. Don is descending the basement stairs, gun in hand. Light comes from small, high windows, illuminating a filthy room full of old boxes and crates. Mike Doyle is here, leaning casually against a wall. His shotgun lies on a crate, in easy reach of his hand. On the floor of the room is a dead man in a pool of blood. The man wears a dark suit and has close-cropped blonde hair. Dark glasses lie next to the body.
3. DOYLE:
4. DON:
Don is holstering the gun under his jacket.
5. DOYLE (off-panel):
6. DON:
7. DOYLE (off-panel):
Don is kneeling next to the body and ripping open his jacket and shirt to expose the man's right bicep.
8. DON:
9. DOYLE (off-panel):
Don is now staring at the man's bare upper arm with a tattoo on the right upper bicep — a circle with a line through it, like the Norwegian letter Ø.
10. DOYLE (off-panel):
11. DON:
Morning. Exterior view of the hotel the group is staying in.
1. CAPTION (SARA's MONOLOGUE):
2. VOICE (FROM HOTEL):
This panel is framed as if a TV screen. The scene shows the steps of a police station. Brother Thomas, casually dressed and looking tired and rumpled, is leaving the station, accompanied by a man in a suit carrying a briefcase (presumably his lawyer). Microphones are being thrust in Thomas's face by a gaggle of reporters.
3. LAWYER:
4. VOICE-OVER (FROM TV):
Still on the TV screen, the lawyer is bundling Thomas into a waiting limousine as the reporters try in vain for a sound bite.
5. VOICE-OVER (FROM TV):
Cut to the hotel room where Wane, James, Sara, Paul, and Fred watch the TV with varying expressions of disbelief and disgust.
5. SARA:
6. WANE:
7. VOICE-OVER (FROM TV):
Same view. Fred is standing and clicking the TV off with the remote.
8. JAMES:
9. FRED:
10. SFX (TV):
Fred is leaving the room.
11. FRED:
The door slams behind Fred, leaving the other four looking startled.
1. WANE:
2. JAMES:
Close up on Wane, who looks concerned.
3. WANE:
Close up on Paul.
4. PAUL:
Fred is walking along a sidewalk, hands in pockets, shoulders hunched, collar turned up against the cold. He has a black look on his face and you feel that, yes, at this moment he could easily do something stupid.
No dialogue.
© 2011 by David Meadows. All rights reserved.