Index | 49 50 51 52

52: Tumbling Down

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.

PAGE ONE. Six panels.

Panel 1

A completely black panel

1. DISEMBODIED VOICE #1:

Whuuhhh?

2. DISEMBODIED VOICE #2:

Shhh!

Panel 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:

Uhhhh?

4. WILSON:

Shhh! If you make too much noise they'll come and drug you again.

Panel 3

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:

They—?

Panel 4

Wane is sitting up on the bed, cradling his head in his hands.

6. WANE:

Oh, yeah. I remember.

7. WILSON:

Take it easy, bro. They shot you with enough stuff to knock out an elephant!

8. WANE:

I'm ok.

Panel 5

Wane is standing, though he's holding the wall for support.

9. WILSON:

How are you standing after that? How are you even awake?

10. WANE:

Just clean living, I guess.

Panel 6

Close-up on Wane.

11. WANE:

Don't worry, dude. I've got friends looking for me. They'll be here any minute.

12. CAPTION (SARA's MONOLOGUE):

Problem is, we didn't know where he was. And even if we had known—

PAGE TWO. One panel.

Panel 1

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):

We had problems of our own.

2. SFX (PUNCH):

SMASH!!!

5. CAPTION (SARA's MONOLOGUE):

These guys are high on Troll Dust. It's a drug that gives you super-human strength.

PAGE THREE. Four panels.

Panel 1

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:

Relax! We don't want any trouble, we just want to talk to Ms. G—

2. DISEMBODIED THOUGHT:

Wrong thing to say, Doc.

Panel 2

A wider view includes Fred and Sara.

3. FRED (THOUGHT):

These guys aren't Suzi's bodyguards—

Panel 3

Close-up on Fred's eyes, showing the Troll's face reflected in them.

4. FRED (THOUGHT):

—They're here to kill her!

5. CAPTION (SARA's MONOLOGUE):

Without Fred's telepathic warning, Paul would be dead.

Panel 4

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):

Even with the warning, there's no way he could have dodged that punch.

PAGE FOUR. Three panels.

Panel 1

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):

WHAMMMM

2. CAPTION (SARA's MONOLOGUE):

So he didn't even try to.

Panel 2

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):

Instead he just let Jesse's personality take over his body.

4. TROLL:

What the—?

5. CAPTION (SARA's MONOLOGUE):

And Jesse has a superhuman resistance to harm.

6. JESSE:

I am protected by the power of the Lord!

7. CAPTION (SARA's MONOLOGUE):

Yeah. What he said.

Panel 3

Jesse punches the Troll on the jaw—to no effect. The Troll barely blinks.

8. JESSE:

Repent your evil ways!

9. CAPTION (SARA's MONOLOGUE):

Unfortunately he can't dish it out the way he can take it.

PAGE FIVE. Four panels.

Panel 1

The Troll swings at Jesse/Paul—who this time does dodge, as he has now become JEROME.

1. CAPTION (SARA's MONOLOGUE):

Then Paul switches again. I can see it in his body language. Only Jerome moves like that...

Panel 2

Jerome delivers a straight-fingered jab to the Troll's throat.

2. CAPTION (SARA's MONOLOGUE):

...And fights like that.

Panel 3

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):

And like that.

4. SFX (KICK):

THUNK!

Panel 4

Now the POV switches to show SARA and the second Troll. The Troll has grabbed her arm.

5. SARA:

Owww!

6. CAPTION (SARA's MONOLOGUE):

I forgot to keep an eye on the second thug!

PAGE SIX. Five panels.

Panel 1

Without anyone laying a hand on him, the second Troll is falling to the floor.

1. DISEMBODIED THOUGHT:

Sleep.

2. CAPTION (SARA's MONOLOGUE):

Luckily, Fred hadn't.

Panel 2

Sara, Paul, and Fred stand over the two unconscious Trolls. (Paul is Paul again, so his captions will be labeled suitably.)

3. SARA:

Jerome—?

4. PAUL:

Paul. Let's—

5. MUSIC (from SARA's jeans pocket):

America, America, God shed His—

Panel 3

Close-up of Sara taking her phone from her jeans pocket.

6. SARA:

It's James.

Panel 4

JAMES, in full costume, somewhere in a darkened city street. He is talking on his phone.

7. JAMES:

Sara? Where have you... no, skip that. I need you here. Wane has got himself kidnapped—

Panel 5

Close up of James on the phone.

8. JAMES:

No, I don't remember it being my job to keep him out of trouble.

9. JAMES:

Well, I hardly think that's fair.

10. JAMES:

Sara, if you can just stop talking for a second...

PAGE SEVEN. Five panels.

Panel 1

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):

"...I really need your help to find him."

2. WANE:

Do you have any idea where we are?

3. WILSON:

Nope. Do you?

Panel 2

Wane has turned away from the door.

4. WANE:

Dude, I don't often know what city I'm in!

5. WANE:

There are people outside so I'm not gonna bust the door down 'til I know how many and if they're armed.

Panel 3

Wilson looks incredulous at the door.

6. WILSON:

You're gonna bust that open? No way!

7. WANE:

Way.

Panel 4

Wane sits on the bed.

8. WANE:

So what's your story, kid?

9. WILSON:

Wilson. My name's—

10. WANE:

Wilson. How did you end up here, and why?

Panel 5

Wilson sits next to Wane.

11. WILSON:

Same as you, I guess. I was at the Temple of Unity—just for the free soup—and next thing I know I'm waking up here.

12. WILSON:

Never did get any soup.

PAGE EIGHT. Five panels.

Panel 1

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:

They were hired to bump off Suzi. He doesn't know who by—some guy his pusher put him in contact with.

Panel 2

Close-up on Sara.

2. SARA:

Give me your location. We can get a cab there.

3. SARA:

Ok, got it. We'll be there soon.

Panel 3

Fred is standing and facing Paul.

4. FRED:

We could try to trace the man who paid for the hit, maybe?

5. PAUL:

Or we could ask Ms. G why somebody wants her dead.

6. FRED:

Yeah. Ok.

Panel 4

Sara is putting the phone away.

7. SARA:

The Temple got Wane. James needs our powers to find him.

8. FRED:

You can handle that yourself. Me and the Doc will stay and talk to Suzi G.

9. SARA:

I—

Panel 5

Sara and Paul exchange a look.

No dialogue.

PAGE NINE. Four panels.

Panel 1

The three of them again.

PAUL:

Come on, Fred, this is Wane we're talking about. A bit more important than talking to Suzi—who might not know anything anyway.

FRED:

But—

PAUL:

You'll find him much quicker if you and Sara work together. I'll stay and handle things here.

Panel 2

Close up on Fred, who looks belligerent and ready to argue.

CAPTION (SARA's MONOLOGUE):

I hate this. Paul having to cover for me.

CAPTION (SARA's MONOLOGUE):

I thought I could bluff my way through losing my powers.

CAPTION (SARA's MONOLOGUE):

But now I've put a mission in jeopardy.

CAPTION (SARA's MONOLOGUE):

And, if Fred doesn't back down, Wane's life too.

PAUL (off-panel):

Besides, who is Suzi going to open up to? Just another fan—

Panel 3

Close-up on Paul.

PAUL:

—Or me?

Panel 4

Fred walking away from our POV.

FRED:

C'mon Sara. Let's see if you can find us a taxi.

PAGE TEN. Six panels.

Panel 1

Paul is standing outside a door marked "PRIVATE" and knocking.

SFX:

knock knock

VOICE (through door, whispering):

Yes?

Panel 2

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:

Ms. Giuffreia? I'm Paul Smithsteen and I need to talk to—

SUZI (whispering):

I'm not doing interviews.

PAUL:

I'm not a reporter, I'm a—

PAUL:

I want to talk about the Temple of Unity.

Panel 3

Paul is standing next to the couch.

SUZI (whispering):

You're not a cop?

PAUL:

I'm not a cop. But I am someone who wants to see the Temple taken down. I think you do too.

SUZI (whispering):

How can I help?

Panel 4

Paul is now sitting next to Suzi. He gestures at her throat.

PAUL:

They did this to you, didn't they? Is that why you're after them?

SUZI (whispering):

No. This isn't important. They took my boyfriend, after one of their meetings. Nobody cares. His mother doesn't care, the cops wouldn't listen to me.

SUZI (whispering):

Because... because he's—

Panel 5

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:

Because you're both addicts?

SUZI (whispering):

Yes. No. I'm clean now. And he was trying. That's why he was looking for help at the Temple.

SUZI (whispering):

Todd didn't want to do drugs. He took them because they dulled his—stopped his—

Panel 6

Close up on Paul's face, realisation dawning as he puts two-and-two together.

PAUL:

—They blocked his power. Todd has a superhuman ability, doesn't he?

PAGE ELEVEN. Eight panels.

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.

Panel 1

Sara and Fred sit in the back of a cab.

SARA:

Paul's right, you know. He's a psychiatrist, he's good at talking to—

FRED:

You've lost your powers, haven't you?

Panel 2

Identical view. Sara looks straight ahead, not at Fred.

No dialogue.

Panel 3

Same view. Sara still isn't looking at Fred.

SARA:

Were you reading my mind?

FRED:

I thought we'd established, I don't do that to my friends.

Panel 4

Same view. Now they are looking at each other.

SARA:

Sorry.

FRED:

I didn't need to read anything. It's painfully obvious.

FRED:

I'm not totally stupid.

Panel 5

Same view.

SARA:

Don't tell James. Please.

FRED:

Afraid he won't love you any more when he finds out?

SARA:

He doesn't—

FRED:

Sure. You're probably the only person who hasn't noticed.

Panel 6

Same view. Now they are not looking at each other again.

FRED:

Well, and him of course.

Panel 7

Identical view.

No dialogue.

Panel 8

Same view. Sara still isn't looking at Fred.

FRED:

You really could have told me, you know.

CAPTION (SARA's MONOLOGUE):

No. I really couldn't.

PAGE TWELVE. Five panels.

Panel 1

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):

James? James?

Panel 2

The cab is driving away. Fred has two fingers in his mouth, whistling.

2. SFX (whistle):

WHEEEEET

Panel 3

James steps out from a narrow alley.

3. JAMES:

No need to make so much noise!

4. FRED:

If the bad guys were close by you wouldn't need us to help you find them.

5. JAMES:

I mean, it's after midnight. People will be sleeping.

Panel 4

Close up of Fred rolling his eyes.

No dialogue.

Panel 5

Close-up of Fred giving Sara a pointed look (a "listen to my subtext" sort of look) (whatever that is).

6. JAMES (off-panel):

You know what's happened?

7. FRED:

Sure. Sara explained everything on the way over.

PAGE THIRTEEN. Four panels.

Panel 1

Wide view of the three of them again.

1. JAMES:

Can one of you find Wane? Sara?

2. FRED:

I'll do it.

Panel 2

Close-up of Fred's eyes, with Wane's face reflected in them.

3. FRED:

Shouldn't be difficult... no other mind in this city has the same insane disregard for his own safety...

4. FRED:

...Present company excepted, of course.

Panel 3

Cut to the room where Wane and Wilson are still locked. Wane is facing the door, poised ready for action.

5. WANE:

Stand back. I'm busting out.

6. WILSON:

What happened to finding out how many guards there were?

7. WANE:

Ah, I thought...

Panel 4

Wane has launched himself in a flying drop-kick at the door, smashing it right open.

8. WANE:

...what the hell?

9. SFX:

KER-SMASH!!!

PAGE FOURTEEN. Three panels.

Panel 1

Back to Fred's eyes.

1. FRED:

Found him.

Panel 2

Fred begins walking down the street, followed by James and Sara.

2. JAMES:

How far?

3. FRED:

Don't know. I'll have a better idea when we're closer.

4. SARA:

How is he?

5. FRED:

You want me to talk to him as well? You have any idea how hard all this is?

Panel 3

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):

"I'm sure he's doing fine."

PAGE FIFTEEN. Five panels.

Panel 1

Back to Paul and Suzi G in her dressing room, sitting on the couch.

1. PAUL:

I know other people like Todd. People with powers. And one of them has been kidnapped too.

2. SUZI (whispering):

By the Temple?

3. PAUL:

No, by the government. I think... they fear people like Todd and my friends. But we're going to get her back. My friends are... very resourceful.

Panel 2

Suzi has stood and is walking away from Paul.

4. SUZI (whispering):

The government? Then you can't help me.

Panel 3

Paul has stepped behind Suzi and put his hand on her shoulder.

5. PAUL:

Yes, we can. And we will. We'll find Todd for you. I promise.

Panel 4

Suzi turns to search Paul's face. puzzled.

6. SUZI (whispering):

Why would you? It's nothing to do with you.

7. PAUL:

Because...

8. PAUL:

Because we're here to help people like you.

Panel 5

Paul and Suzi sitting on the couch again.

9. PAUL:

Tell me everything you know about the temple.

10. SUZI (whispering):

I heard them talk about Miami. That's where they smuggle people out of the country.

PAGE SIXTEEN. Four panels.

Panel 1

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.

Panel 2

A second kick knocks the thug down, unconscious.

1. SFX:

THWACK!

Panel 3

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:

SMASH!

Panel 4

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:

Come. Let's see how you fare against...

PAGE SEVENTEEN. Seven panels.

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.

Panel 1

The thug's rant and shirt tearing is interrupted by Wane's foot connecting with his face.

1. THUG:

A Bully Boy from Br—

2. SFX:

THWACK!

Panel 2

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:

Dude, you got any idea how gay that was?

4. THUG:

Nrarrgh!

Panel 3

The thug delivers a combination of punches to Wane's head and body.

No dialogue.

Panel 4

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.

Panel 5

Wane goes down from a straight jab.

No dialogue.

Panel 6

From the floor, Wane sweeps the thug's legs with another kick, knocking the thug off balance.

No dialogue.

Panel 6

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.

Panel 7

With the thug still on his knees, Wane delivers a knockout kick to his head.

No dialogue.

PAGE EIGHTEEN. Five panels.

Panel 1

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:

CRASH

2. JAMES:

We're—

3. WANE:

—Late.

Panel 2

Wane, James, Fred and Sara are standing in the room, surrounded by unconscious thugs.

4. JAMES:

Well... that seems to be wrapped up, then.

5. WANE:

Not quite...

6. WANE:

Wilson?

Panel 3

Wilson pokes his head around the door.

7. WILSON:

Is it safe?

8. WANE:

Yeah. These are the friends I told you about.

Panel 4

Wane claps Wilson on the back.

9. WANE:

This is my man Wilson. The Temple snatched him and he's willing to tell the cops all about it.

Panel 5

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:

That's very brave, son—

11. WILSON:

"Son?"

12. JAMES:

—and we can't stay around to back you up, but if you just tell the complete truth—

13. WILSON:

Including about your fashion sense?

PAGE NINETEEN. Four panels.

Panel 1

Wane, Sara and Fred are all laughing at this. James just looks like the joke went right over his head.

1. SFX:

HA HA HA HA HA HA HA HA

2. JAMES:

I don't mind if you mention the costume.

Panel 2

James is walking from the room, through the door he smashed in.

3. JAMES:

I'm tired of hiding. It's time more people learned what we're doing.

Panel 3

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):

Oh, that's not good.

5. WANE:

You want to...?

6. FRED:

No point. They're just the muscle.

Panel 4

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):

What could we learn from them?

PAGE TWENTY. Five panels.

Panel 1

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:

Doyle?

2. VOICE (from inside):

In here. Basement.

Panel 2

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:

You can put the gun away. He's not dangerous — any more.

4. DON:

You kill him?

Panel 3

Don is holstering the gun under his jacket.

5. DOYLE (off-panel):

Self defense. Didn't plan on it. I wanted you to talk to him.

6. DON:

Who is he?

7. DOYLE (off-panel):

The man I handed your shape-shifter protegé over to. At the time I thought he was government. Take a look at his right bicep.

Panel 4

Don is kneeling next to the body and ripping open his jacket and shirt to expose the man's right bicep.

8. DON:

Why are you telling me this now?

9. DOYLE (off-panel):

Because I don't like being played. Look at the bicep.

Panel 5

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):

Is that what I think it is?

11. DON:

Oh yeah. He's Black Zero.

PAGE TWENTY-ONE. Six panels.

Panel 1

Morning. Exterior view of the hotel the group is staying in.

1. CAPTION (SARA's MONOLOGUE):

So we were all pretty pleased with ourselves next morning.

2. VOICE (FROM HOTEL):

Look, it's on the news! Turn it up, turn it up!

Panel 2

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:

No comment. We have no comment.

4. VOICE-OVER (FROM TV):

Thomas Hale was released from police custody early this morning...

Panel 3

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):

...After being questioned through the night in relation to charges of kidnapping and conspiracy.

Panel 4

Cut to the hotel room where Wane, James, Sara, Paul, and Fred watch the TV with varying expressions of disbelief and disgust.

5. SARA:

Oh, what?

6. WANE:

No way! After all I...

7. VOICE-OVER (FROM TV):

It is understood that a full investigation of Hale's charity, the Temple of Unity, is ongoing...

Panel 5

Same view. Fred is standing and clicking the TV off with the remote.

8. JAMES:

The police are still investigating. I have every faith that—

9. FRED:

Yeah, well I don't.

10. SFX (TV):

*click*

Panel 6

Fred is leaving the room.

11. FRED:

You sit around and have faith. I'll do something about it.

PAGE TWENTY-TWO. Four panels.

Panel 1

The door slams behind Fred, leaving the other four looking startled.

1. WANE:

D'you think we should...

2. JAMES:

Leave him. Let him work it out by himself.

Panel 2

Close up on Wane, who looks concerned.

3. WANE:

You don't think he's going to do something stupid?

Panel 3

Close up on Paul.

4. PAUL:

Actually out of all of us, Fred's the one I would least expect to do something stupid.

Panel 4

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.

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