Visual Style and the Artistry of Violence

 

                BEFORE WE GET STARTED:

                OSCAR: IT IS IMPERATIVE THAT YOU PROPERLY REFERENCE ALL MARTIAL ARTS MOVES. WATCH Crouching Tiger, Hidden Dragon AND OTHER MARTIAL ARTS FILMS FOR VISUAL REFERENCE OF THE ARTISTRY OF VIOLENCE. THE VIOLENCE IN THIS SERIES MUST PLAY OUT LIKE A BALLET, WITH GRACE AND POETRY OF MOTION.

 

                IF YOU CAN FIND COPIES IN SPAIN, LOOK AT Lone Wolf And Cub AND SIMILAR JAPANESE COMICS FOR FLUIDITY END ECONOMY OF PAGE COMPOSITION. KEEP THINGS OPEN AND SIMPLE, AVOIDING SPEED LINES AND IMPACT BURSTS AND OTHER TRADITIONAL “SUPER-HERO” FIGHT ELEMENTS (IN OTHER WORDS, ANYTHING JACK KIRBY MIGHT HAVE USED IN Fantastic Four SHOULD NOT BE IN Panther.) MOVE MORE TOWARDS AS FRANK MILLER ECONOMY OF DESIGN, LIKE HE USED IN SIN CITY AND ELSEWHERE.

 

                MIKE: I AM DELIBERATELY AVOIDING AS MANY SOUND EFFECTS AS POSSIBLE, GOING FOR A KIND OF “SILENT FILM” NOIR EFFECT.

 

                DESIGN THEME AND IMAGE SYSTEM

                THE DESIGN THEME OF THIS ARC IS BLACK AND WHITE, SIMPLE ELEMENTS, THE NOTION OF OPPOSING FORCES OF GOOD AND EVIL. WITH THIS IN MIND, OSCAR, DESIGN THE PAGES SO, PERIODICALLY, STRONG ELEMENTS OF SOLID BLACK PULL FORWARD, AVOIDING EXCESSIVE USE OF BLACK IN BACKGROUND ELEMENTS. LOOK FOR WAYS TO CAPITALIZE ON THE THEME BY DELIBERATELY USING STRONG ELEMENTS OF SOLID BLACK AS VISUAL LANDMARKS THROUGHOUT THESE PAGES.

 

                I SUGGEST AN ECONOMICAL, ALMOST JAPANESE APPROACH.

 

                GUNS

                PANTHER CARRIES TWO OF THE SAME PISTOLS: A .9MM SIGARMS P226. THIS IS A NAVY SEALS GUN, IN TWO-TONE FINISH (STAINLESS STEEL WITH MATTE BLACK). THE 2-TONE DESIGN OF THE GUN IS INTENDED TO REINFORCE THE IMAGE SYSTEM OF THE ARC. THESE ARE BIG HANDGUNS, AND SHOULD BE FAIRLY INTIMIDATING WHEN HE PULLS THEM OUT. I WILL PROVIDE REF ON THE GUNS.

 

                CAR

                THE PANTHER DRIVES A BLACK 1996 LEXUS GS-400 CONFISCATED FROM A DRUG DEALER. I WILL SEND YOU REF ON THIS CAR. THIS IS AN OLDER VERSION OF THE LEXUS GS SERIES, WITH RECTANGULAR HEADLIGHTS (THE CURRENT MODEL DOES NOT LOOK ANYTHING LIKE THIS). THIS IS A VERY UNIQUE-LOOKING CAR. THE CAR IS FITTED WITH CUSTOM CHROME GIOVANNA ANZIO WHEELS. I WILL PROVIDE REF ON THESE WHEELS, WHICH COST $1500 PER WHEEL. PANTHER PARKS HIS CAR ON THE STREET (IN NEW LOTS) AND LEAVES THE KEYS IN IT (NOBODY IS STUPID ENOUGH TO STEAL PANTHER’s CAR).

 

                POLICE REFERENCE

                IT IS IMPERATIVE THAT ALL OF THE POLICE ELEMENTS ARE DRAWN CORRECTLY AND ACCURATELY: THE POLICE CARS (PATROL CARS ARE BLUE, SECTOR CARS ARE WHITE), BADGES (KASPER HAS A STANDARD PATROLMAN’S NICKEL-PLATED BADGE, TORK HAS A GOLD SERGEANT’s BADGE WITH AN EAGLE DESIGN, DETECTIVES BADGES ARE SMALLER GOLD SHIELDS: OSCAR, I WILL GIVE YOU A WEB LINK TO A WEB SITE THAT HAS DETAILED PHOTOS OF THESE BADGES). ALSO THE ARM PATCHES, STYLE OF HATS, SERVICE PINS, ETC. I WILL PROVIDE REF ON ALL OF THIS. LADIES AND GERMS WE MUST GET THIS RIGHT, IT MUST NOT BE “MADE UP” GENERIC STUFF. THIS IS A SPECIFIC CULTURE, OF NEW YORK COPS, THAT THIS CRIME DRAMA IS BEING SET IN.

 

                OSCAR: NYPD UNIFORMS CAN BE DRAWN AS MATTE (SOLID) BLACK, WITH ONLY OCCASIONAL DARK BLUE HIGHLIGHTS AT CREASES AND FOLDS IN THE CLOTH.

 

                COLOR: MIKE, IT IS IMPERATIVE THAT OSCAR AND I CAN COMMUNICATE WITH THE COLORIST AND THAT THE COLORIST HAVE PROPER REF (WHICH I WILL PROVIDE) ON THE COLORS OF THE BADGES AND UNIFORMS (NYPD COP UNIFORMS ARE DARK BLUE BUT WILL LOOK BETTER AS MATTE BLACK IN THIS SERIES).

 

                NEW YORK

                NEW YORK = TAXI CABS, BUSSES AND SUBWAY TRAINS. I WILL PROVIDE REFERENCE ON ALL OF THESE ELEMENTS. PLEASE MAKE SURE THE COLORIST HAS THIS REF AS WELL (AN EMAIL ADDRESS WOULD BE GREAT). THE MORE SPECIFIC WE CAN BE ABOUT NEW YORK, ESPECIALLY EAST NEW YORK (BROOKLYN), THE MORE GRITTY AND CONVINCING THIS SERIES WILL BE. THERE ARE VARIOUS TYPES OF BUSSES (I’M A FORMER BUS DRIVER, SO I KNOW MY BUSSES!!): GRUMMAN TYPES, GMC (OLD STYLE) TYPES, TAXI CABS (MOSTLY CHEVROLET CAPRICE— SERIOUSLY UGLY CARS), AND SUBWAY TRAINS (R32: OLD STYLE 1960’s IRT CARS, PAINTED RED OUTSIDE, TYPICAL OF THE #2 AND #3 IRT (INTERBORO RAPID TRANSIT) LINES THAT SERVICE THE NEW LOTS SECTION OF BROOKLYN WHERE THIS SERIES TAKES PLACE), ALL THE WAY TO THE NEW R143 CARS WHICH SHOULD BE ARRIVING THIS SUMMER— I HAVE COLOR REFERENCE ON ALL OF THIS.

 

                PLEASE BE AS SPECIFIC AS POSSIBLE ABOUT BUSSES AND TAXIS AND SUBWAY TRAINS AND POLICE CARS: THIS STUFF IS WHAT MAKES NEW YORK CITY A LIVING, BREATHING CHARACTER IN THE SERIES.  THANKS!

Page 1

 

                CHAPTER HEADING ACROSS.

    1  TITLE:        Little Men

 

                FIVE HORIZONTAL PANELS: JOHN WOO/MARTIAL ARTS: OSCAR, THIS IS A DANCE, A SLOW-MOTION OPERATIC BALLET OF VIOLENCE:

 

1              EXT/CITY STREETS: A BLACK GANG MEMBER GETS VICIOUSLY KICKED IN THE FACE, THE LEG OF HIS ATTACKER EXTENDS IN FROM OFF PANEL, EXECUTING A MARTIAL ARTS SIDE-KICK.

 

                THIS LEG: MATTE (SOLID, NO HIGHLIGHTS, NOT OPEN FOR COLOR) BLACK, STRAIGHT-LEG JEANS WITH BOOTS. THESE ARE BLACK PANTHER’s BOOTS (THE STANDARD BOOTS HE CURRENTLY WEARS) WITH THICK SOLES (SEE REF). THE PANTS LEGS GO OVER THE BOOTS.

 

                WITH THIS IN MIND, OSCAR, DESIGN THE PANELS SO THE STRONG ELEMENT OF SOLID BLACK (THE LEG) PULLS FORWARD, AVOIDING EXCESSIVE USE OF BLACK IN BACKGROUND ELEMENTS.

 

                THE PANTS ARE STIFF DENIM, SO THEY DO NOT CONTOUR TO THE SHAPE OF HIS LEG, OTHER THAN USUAL STRESS POINTS HERE AND THERE. A THICK INSEAM RUNS THE LENGTH OF THE LEG, BUT THE PANTS DO NOT HAVE A CREASE IN THEM.

 

                OSCAR: SEE THE OPENING SHOT OF Black Panther #12 FOR AN IDEA OF WHAT I'M TALKING ABOUT.

- no copy -

 

2              SAME: ONLY NOW THE THUG IS BEING KICKED A SECOND TIME, NOW; NOW THE ASSAILANT IS USING HIS OTHER LEG. HE's SHIFTED AND TWISTED, MARTIAL ARTS-STYLE, THROWING A SUCCESSION OF KICKS.

 

                THE THUG COLLAPSING FROM THE FIRST KICK, NOW BEING KICKED A SECOND TIME.

- no copy -

 

3              SAME: THE PUNK IS NOW BEING SMASHED WITH A GARBAGE CAN THROWN FORM OFF-PANEL, THE CAN HITTING HIM HARD, DROPPING HIM TO THE FLOOR AS GARBAGE SPILLS OUT ALL OVER.

- no copy -

 

4              THE PUNK ON THE GROUND: HIS ATTACKER's BOOT PRESSED ON HIS NECK, THE PUNK IN GREAT PAIN.

- no copy -

 

5              SAME: ONLY NOW A GLEAMING, STAINLESS STEEL SIG SAUER  PISTOL  IS PRESSED AGAINST THE PUNK's FACE: REALLY PUSH IT IN THERE, THE PISTOL BARREL MAKING AN INDENTATION IN THE SIDE OF THE GUY's FACE.

 

                IF WE SEE THE HAND HOLDING THE PISTOL: THE ASSAILANT IS WEARING A SHORT LEATHER GLOVE, LIKE A JEWEL THIEF MIGHT WEAR, *NOT* PANTHER's GLOVE. THE GLOVE ENDS AT HIS WRIST, REVEALING CAUCASIAN-COLORED FLESH.

 

                WHAT IS HAPPENING: THE ATTACKER IS PINNING HIM DOWN WITH HIS FOOT WHILE LEANING DOWN AND THREATENING HIM WITH THE PISTOL.

 

                COLOR: THE PISTOLS ARE NICKEL, THE FLESH TONE IS CAUCASIAN.

    2  VOICE:        (Off)  How many.

    3  PUNK:         (Whisper) ...six.

Page 2

1              CUT TO:  INT/TENEMENT: A RATTY, ABANDONED TENEMENT. A PAIR OF GANG MEMBERS, EARLY 20's, AND A PAIR OF MIDDLE-AGED MEN, ONE WHITE, ONE BLACK, COUNT HUGE STACKS OF CASH.  THE MIDDLE-AGED MEN WEAR SUITS AND TIES.

 

                IN THE SHADOWS: A COUPLE OF UNIFORMED S.WA.T. COPS, WEARING TYPICAL KEVLAR, MASKS, BOOTS, ETC. THE SWAT COPS ALSO HAVE M-16's.

 

                THERE ARE A TOTAL OF 6 MEN IN THIS SCENE.

 

                THE COUNTING HAS BEEN DISTURBED BY THE NOISE FROM OUTSIDE. THE COUNTERS NOW LOOKING IN THE DIRECTION OF THE NOISE. THEY ARE NOT FEARFUL, MORE ANNOYED.

 

                OSCAR: A TENEMENT IS A VERY OLD APARTMENT BUILDING, AT LEAST THREE OR FOUR FLOORS. THIS APARTMENT HAS SEVERAL ROOMS, AS MANY AS YOU ENVISION. THE PAINT IS PEELING OFF OF THE WALLS, AND THERE IS VERY LITTLE FURNITURE IN THE APARTMENT. THE FURNITURE THAT IS THERE IS OLD AND WORN  AND DAMAGED.

    1  GANGSTA;      Company.

    2  WHITE MAN:    We got it.

    3  GANGSTA:      I can hannel my business.

    4  WHITE MAN:    Yeah, we know--

 

2              CUT TO: TWO SWAT GUYS, WEAPONS READY, MAKING THEIR WAY TOWARDS THE REAR OF THE HOUSE, READY FOR ANYTHING.

    5  WHITE MAN:    (Off)  --but we're the police.

    6  WHITE MAN:    (Same)  It's our job.

 

3              THE GANGSTAS GO BACK TO COUNTING. UNEMOTIONAL  .

    7  GANGSTA:      Hell, then, bruh.

    8  GANGSTA:      Do ya job..

 

4              SAME: THE GANGSTA GETS SHOT THREE TIMES IN THE CHEST, THE IMPACT KNOCKS HIM BACKWARDS LIKE A MULE KICK, MONEY FLIES THROUGH THE HAIR AS HIS HANDS JERK INVOLUNTARILY.

 

                IMPACT “HIT” MARKS ON HIM, BUT NO BLOOD, OSCAR.

 

                THE OTHER GANGSTER’s EYES GO WIDE AS HE REACHES FOR HIS GUN.

— no copy —

(More)

5              CUT TO: DETAIL: TWO STAINLESS STEEL .9MM PISTOLS FIRING: THE ATTACKER HAS TWO GUNS, AIMED SIDE BY SIDE, BOTH FIRING, BOTH EJECTING SHELLS, OTHER SHELLS ALREADY IN FREE FALL, MUZZLE FLASH.

 

                THE ASSAILANT’s HANDS: HIS RIGHT HAND WEARS THE SHORT GLOVE AND WE SEE THE FLESH OF HIS WRIST BEYOND IT. HIS LEFT HAND WEARS PANTHER’s GLOVE, EXTENDING UP HIS FOREARM.

— no copy —

Page 3

1              THE SWAT GUYS STORM THE ROOM, FIRING THEIR AUTOMATIC WEAPONS, SNARLING. THE SECOND GANGSTA COLLAPSING IN FRONT OF THEM, MULTIPLE GUN HITS ON HIS CHEST, BUT, AGAIN, NO BLOOD.

 

                OSCAR: MULTIPLE IMPACT “POCK” MARKS ON THE WALL NEAR OR BEHIND THE THUG WHO HIS COLLAPSING IN FRONT OF THE SWAT GUYS.

— no copy —

 

2              REVERSE TO THEIR POINT OF VIEW: WHAT THE SWAT GUYS ARE SHOOTING AT: THE ROOM IS EMPTY, EXCEPT FOR THE TWO GANGSTA THUGS, LYING ON THE FLOOR, MONEY ALL OVER THE PLACE, FLOATING IN FREE FALL.

    1  SWAT:         (Off) --?!  Where--?

 

3              REVERSE: THE ATTACKER DROPS DOWN FROM THE CEILING, HIS BACK TO US, FIRING BOTH PISTOLS.  OSCAR: THIS IS, OF COURSE, OUR NEW PANTHER, BUT WE DO NOT WANT TO GIVE THIS AWAY YET:

 

                MUZZLE FLASH, EJECTING SHELLS.

 

                OSCAR: NOW EVERYONE INSIDE THAT ROOM (THE TWO THUGS AND THE TWO SWAT GUYS) IS DOWN. THE ONLY TWO GUYS LEFT ARE THE MIDDLE-AGED MEN (SEE NEXT PANEL)

— no copy —

 

4              CUT TO: OUTSIDE OF THIS ROOM: THE MIDDLE-AGED MEN DUCK AS GUNFIRE CHEWS THROUGH THE WALL. OSCAR: A LOT OF GUNFIRE, TEARING THE WALL TO SHREDS. THE TWO MIDDLE-AGED MEN WINCE AND COWER: THEY HAVE GUNS DRAWN. THEIR GUNS ARE .38 SNUB-NOSE REVOLVERS, “CHIEF’S SPECIALS,” AS MANY NY DETECTIVES CARRY.

    2  MAN:          ...Jesus...

 

5              DETAIL: THE FLOOR:  THE ATTACKER’S FEET:  HE LANDS, DROPPING TO THE FLOOR, THE SOLES OF HIS BOOTS GLOW WITH ENERGY AS HE LANDS LITHELY ON HIS TOES.

 

                OSCAR: THESE ARE BLACK PANTHER’s BOOTS: THE BOOTS HE CURRENTLY WEARS. THE ATTACKERS PANTS GO OVER THE BOOTS, SO WE ONLY SEE THE BOOTS FROM THE ANGLE DOWN.

 

                OSCAR: DOZENS OF SHELL CASINGS RAINING DOWN, HITTING THE FLOOR AND BOUNCING OFF THE FLOOR. A PAIR OF EMPTY MAGAZINE “CLIPS” FROM HIS PISTOLS LIKEWISE BOUNCE OFF THE FLOOR, INDICATING HE IS RE-LOADING (HE JUST DROPS THE MAGAZINES OUT OF HIS PISTOLS, LETTING THEM FALL TO THE FLOOR).

— no copy —

Page 4

                (SPLASH)  THIS IS OUR BIG REVEAL: FULL FIGURE: THE BLACK PANTHER, STANDING AMID THE DEFEATED BAD GUYS. PANTHER IN SOME FERAL CROUCH, MENACING, SMOKING PISTOLS IN HIS HANDS.

 

                OSCAR: DO SOMETHING ARTISTIC WITH THE $100 BILLS FLOATING/SWIRLING AROUND PANTHER: USE THEM THE WAY JOHN WOO USES DOVES IN HIS FILMS, FRAMING THE SHOT IN AN ALMOST POETIC, ETHEREAL MOMENT.

 

                PANTHER’S PISTOLS ARE EMPTY, THE SLIDES LOCKED IN THE OPEN POSITION, SMOKE DRIFTS FROM THE BARRELS.

 

                COSTUME DETAILS CAN BE WORKED OUT LATER, BUT HERE'S WHAT IS IMPORTANT: THIS PANTHER COSTUME IS A KIND OF HOME-MADE DESIGN ASSEMBLED FROM REMNANTS OF THE PANTHER COSTUME NIGHTSHADE RUINED IN Panther #16.

 

                HE WEARS A THREE-QUARTER LENGTH JACKET, SIMILAR TO THE ONE DENZEL WEARS IN Training Day (SEE REF) OVER THE BODY SUIT, AND HE WEARS ACTUAL PANTS. WHAT WE SEE OF THE BODY SUIT IS THE SHIRT AND MASK AND GLOVE OF HIS LEFT HAND.

 

                UNDER THE JACKET:

                THE ENTIRE RIGHT SLEEVE OF THIS COSTUME IS GONE, RIGHT UP TO THE EXPOSED SHOULDER. OUR NEW PANTHER's RIGHT ARM IS BARE, REVEALING HIS BROWN SKIN AND CHISELED ARM. PANTHER WEARS SOME MANNER OF CONVENTIONAL CLOVE ON HIS RIGHT ARM.

 

                PANTHER'S LEFT ARM IS THE BODYSUIT HE CURRENTLY WEARS (SUBJECT TO WHATEVER ADAPTATION WE DECIDE ON). ON HIS LEFT FOREARM IS THE GOLDEN ARMBAND/THINGY PANTHER FIRES HIS ENERGY DAGGERS WITH. HE DOES NOT HAVE A ARMBAND/LAUNCHER/THINGY ON HIS RIGHT ARM.

 

                THE MASK IS A FULL FACE MASK, EITHER EXACTLY THE SAME AS OUR PANTHER OR SOME APPROXIMATION (NOTE THE COSTUME NIGHTSHADE DESTROYED HAS A HALF-RUINED MASK. THIS NEW PANTHER COSTUME CAN USE ELEMENTS OF THAT MASK BUT WOULD NEED TO BE REPAIRED OR REBUILT).

 

                HE WEARS EXACTLY THE SAME PINSTRIPED VIBRANIUM-SOLED BOOTS AS OUR CURRENT PANTHER DOES (HE WOULD HAVE NO WAY OF MODIFYING THEM).

    1  LEGEND:       Stan Lee presents

    2  LOGO:         < Insert  PANTHER logo >

    3  TITLE:        BLACK & WHITE: A Crime Novel

                                                PROLOGUE: TIN MEN IN THE GARDEN OF GOOD & EVIL

Page 5

1              THE TWO MIDDLE AGED GUYS BURST IN, FIRING THEIR LITTLE PISTOLS: ONE GOES HIGH ONE GOES LOW. SNARLING. GONNA NAIL THIS BASTARD.

    1  MAN:          They got Dre-- think his vest caught the slugs--

    2  MAN:          He’s out-- now, before he re-loads--!!

 

2              A SLOW-MOTION JOHN WOO MOMENT:

                ON PANTHER:  HIS TWIN PISTOLS TUMBLE OVER IN SLOW-MOTION FREE-FALL (HE’s JUST LET GO OF THEM), AS HE PULLS A SAWED-OFF SHOTGUN FROM UNDER THE JACKET.

— no copy —

 

3              THE MIDDLE-AGED COPS TURNING, MAKING A RUN FOR IT, TERRIFIED.

— no copy —

 

4              PANTHER FIRING THE SHOT GUN. BIG MUZZLE FLASH, EXTREME LIGHTING, BIG SHELLS EJECTING.

 

                COLOR: EXTREME LIGHTING FROM MUZZLE FLASH OF SHOT GUN.

— no copy —

 

5              THE HALL: DEBRIS FROM THE CEILING OVERHEAD FALLS ON THE MIDDLE-AGED COPS AS THEY RUN (PANTHER’S SHOT GUN BLASTS HIT THE CEILING).

    3  MAN:          (Burst)  AaAaACCKKK--!!

Page 6

1              EXT/TENEMENT:  ONE OF THE SWAT GUYS IS BRUTALLY THROWN OUT OF THE WINDOW (IT’S ONLY THE SECOND OR THIRD FLOOR, HE WON’T DIE).  THE SWAT COP, OF COURSE, HAS LOTS OF BODY ARMOR AND PROTECTION.

 

                IN B/G: POLICE CARS ARRIVING ON THE SCENE.

— no copy —

 

2              A POLICE CAR: THE SWAT GUY SMASHES DOWN ON THE CAR’S WINDSHIELD, SHATTERING IT, DENTING THE HOOD, ETC. THERE IS A NOTE PINNED TO HIS CHEST.

— no copy —

 

3              ARRIVING COPS CHECK THE SWAT GUY: HE’S UNCONSCIOUS, HIS BODY ARMOR IS RIDDLED WITH BULLET HITS, DOZENS OF THEM, LOOKS PRETTY GRUESOME, BUT HE’S ALIVE.

 

                ONE OF THE COPS PULLS THE NOTE OFF OF HIS CHEST.

    1  COP:          ...alive... body armor caught most of it...

 

4              DETAIL: THE COP’s HAND HOLDING THE NOTE. OUR STANDARD PANTHER-HEAD EMBLEM ON THE BOTTOM OF THE NOTE.

    2  NOTE:         DIRTY COP

 

5              BACK INSIDE THE BUILDING:  THE BLACK MIDDLE AGED COP, LYING ON THE FLOOR, WINCING AS HE BRUSHES DEBRIS OFF OF HIM, TRYING TO GET HIS BEARINGS.

    3  COP:          ...dammit...

    4  COP:          ...freaking maniac...

    5  VOICE:        (Off) I am new to your lands.

    6  VOICE:        (Attach) Your ways are alien to me--

Page 7

1              NEW ANGLE: PANTHER, CROUCHING A FEW INCHES FROM THE BLACK MIDDLE-AGED COP, A FERAL, MENACING CROUCH, LIKE AN EVIL SPIDER-MAN. HIS SHOTGUN POINTED UP TOWARDS THE CEILING, THE BUTT OF IT RESTING ON THE FLOOR, SO THE SHOTGUN LOOKS RATHER LIKE A TRIBAL SPEAR.

 

                PANTHER HAS A FISTFUL OF MONEY IN HIS FREE HAND: A THICK STACK OF $100 BILLS, OSCAR, EASILY 50 THOUSAND DOLLARS.

 

                PANTHER GLARING.

    1  PANTHER:      --however, in any culture, evil is indeed evil.

    2  PANTHER:      You, Detective Scruggs, are a police officer. Sworn to protect the innocent--

    3  PANTHER:      --but you prey upon them-- sacrifice your very soul--

 

2              C/U: PANTHER: SNARLING, EVIL, HIS HAND HOLDING THE CASH IN FOREGROUND.

    4  PANTHER:      --for this.

    5  PANTHER:      For worthless paper.

 

3              NEW ANGLE:  PANTHER SHOVES THE BILLS INTO THE MAN’s MOUTH, TRYING TO SUFFOCATE HIM WITH THEM.

    6  PANTHER:      I trust it is worth it to you.

    7  PANTHER:      We will have an understanding between us, Detective.

    8  PANTHER:      Speak of it to no man...

 

4              CUT TO: ARRIVING POLICE TURNING A CORNER OR RACING UP A STAIRCASE, WHATEVER WORKS: GUNS DRAWN: SHOCKED BY WHAT THEY SEE.

    9  COPS:         --Jeez---!

   10  COPS:         Scruggs--!! 

(More)

5              THE COPS TEND TO THE MIDDLE-AGED COP, YANKING THE CASH OUT OF HIS MOUTH. THE MIDDLE-AGED COP’s HANDS ARE BOUND WITH PLASTIC TIES (USED INSTEAD OF HANDCUFFS FOR RIOT CONTROL).

 

                THE MIDDLE-AGED MAN SNARLING, JERKING HIS HEAD IN THE DIRECTION PANTHER’S FLED.

   11  SCRUGGS:      --phthhh--!!

   12  SCRUGGS:      (Burst) -THE WINDOW--!!

Page 8

1              EXT/BUILDING: A PAIR OF COPS LEAN OUT OF THE OPEN WINDOW, GUNS DRAWN, LOOKING FOR PANTHER.

    1  SCRUGGS:      (From inside, burst) --THE WINDOW--!!

 

2              REVERSE TO THESE COPS’ POINT OF VIEW: THE BLOCK: NOTHING BUT ARRIVING POLICE CARS, AMBULANCE, ONLOOKERS, ETC. NO SIGN OF PANTHER.

— no copy —

 

3              DETAIL:  A TRAFFIC LIGHT: A RED SIGNAL.

 

                COLOR: THE SIGNAL IS RED.

    2  DRE:          (Off Burst) YO--  YO-- WAIT--!!

    3  CAPTION:      You wait.

 

4              PULL BACK: A NYC POLICE CAR RACES THROUGH THE RED LIGHT WITHOUT SLOWING DOWN, MOVING AT A FAST RATE OF SPEED.

 

                OSCAR: I WILL SEND YOU REF ON POLICE CARS. THEY MUST BE ACCURATE.

 

                COLOR: MIKE, PLEASE MAKE SURE I HAVE E-ADDRESSES FOR COLORISTS SO I CAN FORWARD THEM PROPER REF ON NYC POLICE CARS.

    4  DRE:          (Off Burst) HOLLUP, MAN-- STOP--!!

    5  CAPTION:      You stop.

    6  CAPTION:      Like you shoulda stopped years ago-- before you lost your soul.

 

5              NEW ANGLE ON THE CAR: BLACK PANTHER DRIVES. GRIM. HE APPEARS TO BE ALONE IN THE CAR.

    7  DRE:          (Burst, No Tail) WHAT-- WHAT'CHOO WANT, MAN?!?

    8  DRE:          (Burst) I'LL DO FREAKIN' WHATEVER--

                     C'MON-- DON'T DO THIS--!!

    9  CAPTION:      Got nothin' to offer me, Dre.

   10  CAPTION:      Drug dealing dirt.

   11  CAPTION:      God... for such a scary guy--

 

6              ANGLE: THE BACK SEAT: THE GANGSTA WHO WAS COUNTING THE MONEY: BOUND IN THE BACK SEAT, SNARLING DEFIANTLY.

   12  CAPTION:      --you look so small.

   13  CAPTION:      You all do... when you're begging for your life.

   14  CAPTION:      Lucky you're worth more to me alive than dead.

   15  DRE:          (Burst)  ANYTHING--  ANY--

Page 9

                FOUR PANELS: FIXED CAMERA ANGLE:

 

1              EXTERIOR: THE POLICE CAR SKIDS TO A HALT, THE REAR END SWINGS OUT A BIT AND THE TIRES LOCK UP.

 

                OSCAR: ISOLATE THE CAR SOMEWHAT: IT IS ON A LONELY STREET SOMEWHERE IN BROOKLYN, NY. KEEP THE CAR RELATIVELY SMALL IN THESE FOUR PANELS, AS THOUGH WE WERE WATCHING THE CAR FROM ACROSS THE STREET.

    1  SFX:          SSSKKRREEEEEEEECCCHH--!!

 

2              SAME: THIS CAN BE A STAT, IF YOU REMOVE SPEED LINES: THE COP CAR JUST SITTING IN THE MIDDLE OF THE STREET, AT SOME ANGLE (INDICATING HE’S JUST SKIDDED TO A HALT; THE CAR SITTING AT A DIAGONAL ANGLE TO THE ROAD).

— no copy —

 

3              STAT PREVIOUS: THE COP CAR: WHAT IS HAPPENING: PANTHER IS PUMMELING THE GUY IN THE BACK SEAT. WE STAY FIXED AT A DISTANCE FROM THE CAR SO WE DO NOT CLEARLY MAKE OUT WHAT PANTHER IS DOING.

    2  SFX:          PUNT!  PUNT!! PUNT!! PUNT!!

 

4              SAME ANGLE: THE POLICE CAR SPEEDS AWAY.

    3  CAPTION:      Much better.

    4  CAPTION:      Can hear myself think now.

 

                CHAPTER HEADING

    5  TITLE:        Show Time

 

5              EXTERIOR: IN TALL GRASS AND SHRUB BRUSH (THIS IS A WILDLIFE REFUGE IN BROOKLYN, NEAR PENNSYLVANIA AVENUE). FEW TREES, BUT LOTS OF WAIST-HIGH GRASS.

 

                DRE IS DIGGING HIS OWN GRAVE WHILE PANTHER, IN FERAL CROUCH, HOLDS THE SHOTGUN ON HIM.  THE COP CAR IN B/G.

 

                COLOR: NIGHT, MOONLIT: THE HEADLIGHTS OF THE COP CAR ARE OFF.

    6  DRE:          ...please...

    7  DRE:          ...please, man...

Page 10

1              PANTHER: SNARLING, GETTING INTO CHARACTER.

    1  CAPTION:      Show time.

    2  CAPTION:      Remember the accent.

    3  PANTHER:      We will have an understanding between us.

    4  PANTHER:      Speak of it to no man...

 

2              NEW ANGLE: PANTHER PUSHES THE BARREL OF HIS PISTOL UP AGAINST DRE’S NECK, JUST BELOW HIS JAW, FORCING DRE’s HEAD TO TILT BACK A BIT. DRE STRUGGLES TO RETAIN HIS DIGNITY, BUT HE IS CLEARLY AFRAID.

    5  PANTHER:  From this day until your last, you will agree to act as my servant--

    6  PANTHER:      --and I will agree to not carve your heart like a roast.

    7  PANTHER:      Give me your car keys.

 

                CHAPTER HEADING

    8  TITLE:        Hanging Out The Shingle

 

3              BIG PANEL: ESTABLISHING SHOT: THE PANTHER’S CAR: 1996 LEXUS GS 400. PANTHER LEANS AGAINST THE CAR IN SOME CASUAL POSE, ARMS FOLDED, LEGS CROSSED AT THE ANKLES, AS THOUGH HE WERE CASUALLY WAITING.

 

                THIS IS A CITY STREET SOMEWHERE.

    9  CAPTION:      96 GS. Giovanna Anzio custom rims.

   10  CAPTION:      Dre has four babies by three different teenage girls.

   11  CAPTION:      Lives with his mama over on Mott Avenue. Can't pay child support or rent--

   14  CAPTION:      --but he's got a $12,000 stereo in his car.

   15  CAPTION:      Life of a teenage dirt bag.

 

4              IN TIGHT ON PANTHER: HIS EYES.

   16  CAPTION:      Show ‘em.

   17  CAPTION:      Give ‘em the look.

   18  CAPTION:      Hang out the shingle.

   19  CAPTION:      Yeah, you punks... recognize...

 

5              PULL BACK FOR A LONGER SHOT: THE CAR AND PANTHER NOW VERY SMALL: WE SEE VARIOUS STREET PEOPLE PASSING BY, INCLUDING SOME THUGS, CURIOUS ABOUT PANTHER, BUT KEEPING THEIR DISTANCE.

   20  CAPTION:      ...learn whose car this is.

   21  CAPTION:      Come back tomorrow, better not be a scratch on it.

Page 11

                CHAPTER HEADING

    1  TITLE:        Take The “A” Train

 

1              THE ROOF OF A STORE:: BLACK PANTHER IN LOW CROUCH. HE OBSERVES A CITY TRANSIT BUS APPROACHING A BUS STOP, A FEW PEOPLE WAITING.

    2  CAPTION:      Day two of a five-day rip.[1]

    3  CAPTION:      Instead of a gold shield, could end up back in the bag.

    4  CAPTION:      Bring Dre to the house tonight, Meatball Eddie gets the collar.

 

2              AFTER IMAGES: BLACK PANTHER LEAPS-FLIPS-LANDS SOMEWHERE NEAR BUS STOP.

 

                COLOR: THE SOLES OF BP’s BOOTS GLOW BLUE.

    5  CAPTION:      A collar I really need... to get back--

    7  CAPTION:      --dig out of the hole.

    8  CAPTION:      Trick is to keep Dre from killing anybody before I can collar up.

 

3              IN CLOSE ON PANTHER AS HE PULLS HIS COWL BACK, REVEALING KASPER COLE’s FACE: KASPER GLARING, EYES RIVETED TO ONE SIDE AS HE SCANS FOR ANYONE WATCHING.

 

                KASPER HAS THE LOOK OF A PREDATOR: EYES NARROWED, HOSTILE EXPRESSION, LIKE HE’S ALWAYS ON THE VERGE OF VIOLENCE.

    9  CAPTION:      So, pull on the mask. Do my thing.

   10  CAPTION:      Keep Dre in check.

   11  CAPTION:      Three days...

(More)

4              NEW ANGLE: THE BUS: KASPER GETS ON.

   12  CAPTION:      ...line up a few other A-Felonies...[2]

   13  CAPTION:      ...pay the light bill...

 

5              CUT TO: EXT/A HARLEM STREET: SEVERAL STORES (A CLOTHING BOUTIQUE, A PIZZA JOINT, WHATEVER OSCAR WANTS). OVERHEAD: APARTMENTS.

 

                LIGHTS ARE ON IN ALL APARTMENTS EXCEPT ONE: THE FLOOR BELOW THE TOP FLOOR.

   14  CAPTION:      Dammit.

Page 12

                CHAPTER HEADING

    1  TITLE:        Harlem

 

1              DETAIL: INT/HALLWAY: AN INDUSTRIAL STRENGTH EXTENSION CORD, PLUGGED INTO A WALL SOCKET. THE CABLE EXTENDS DOWN THE HALL A FEW FEET AND UNDER A DOOR.

 

                KASPER'S FEET IN SHOT: HE WEARS PANTHER’S BOOTS (PANTS OVER THE BOOTS).

 

                COLOR: THE SOLES OF HIS BOOTS ARE NOT GLOWING IN THIS SHOT.

    2  CAPTION:      Forgot to pay the light bill.

 

2              NEW ANGLE: KASPER HAS ARRIVED HOME, A GROCERY BAG IN HAND, A GALLON JUG OF MILK IN THE OTHER HAND. KASPER UNCEREMONIOUSLY BANGS ON THE DOOR.

 

                HE’S WEARING EXACTLY WHAT HE HAD ON EARLIER. WITH THE COWL PULLED BACK (AND UNDER HIS JACKET), THE PANTHER COSTUME LOOKS JUST LIKE A SHIRT. SAME MATTE BLACK JEANS, PANTHER’s BOOTS.

 

                KASPER HAS A PREDATOR'S EYES: TYPICALLY NARROWED, ALWAYS ON THE ALERT, A PERPETUAL GLARE. HE'S A TOUGH GUY. A VERY TOUGH GUY. THE LAST GUY ON THE BLOCK YOU WANNA FUCK WITH.

               

                HE WEARS A THICK PLATINUM ROPE CHAIN AND A COUPLE OF SMALLER CHAINS, A STUD EARRING IN ONE EAR. HE LOOKS LIKE A BAD GUY, BECAUSE HE IS A BAD GUY.

    3  KASPER:       C'mon, ma--

    4  SFX:          THUMP!  THUMP!!

    5  KASPER:       Milk's goin' sour out here...

 

3              NEW ANGLE: OVER KASPER'S SHOULDER: HIS MOTHER OPENS THE DOOR. SHE'S ANNOYED. SHORT JEWISH LADY, MID-FIFTIES, PLUMP- THE MOM FROM Everybody Loves Raymond.

 

                OSCAR: KASPER’S MOTHER IS A WHITE JEWISH LADY. HIS FATHER (WHOM WE SEE LATER) IS A VERY DARK MAN FROM THE JAMAICAN ISLANDS.

    6  MA:           It's not good, Kevin.

    7  KASPER:       (Off) Yeah-- I know-- the lights--

    8  MA:           She's very upset.

    9  MA:           Which means I catch all the hell, understand?

(More)

4              INT/APARTMENT: KASPER ENTERS, NEARLY TRIPPING OVER THE EXTENSION CORD AND OTHERS LIKE IT. THE PLACE IS DARKLY LIT BECAUSE THE POWER HAS BEEN SHUT OFF FOR NON-PAYMENT, AND THEY ARE TAPPING THE BUILDING's POWER FROM THE HALL TO RUN A FEW LIGHTS.

 

                LET'S DISCUSS: MODEST, LOW-RENT, SMALL: A TWO-BEDROOM APARTMENT, ONE BATH. NO CARPET, RUGS HERE AND THERE. THE FURNITURE DOES NOT MATCH, THE AIR CONDITIONER DOES NOT WORK.

   10  CAPTION:      These people have no lives.

   11  CAPTION:      They never leave the house.

   12  CAPTION:      Judge Judy and Springer are their entire world...

   13  MA:           Kevin, dear-- please do something about her...

 

5              NEW ANGLE: GWEN, KASPER'S GIRLFRIEND, ANNOYED, LEANING AGAINST A DOORFRAME, ARMS FOLDED. SHE'S PREGNANT, LIKE SIX MOTHS SO SHE'S PRETTY OBVIOUSLY PREGNANT.

 

                GWEN IS KOREAN-AMERICAN. SHORT AND PLUMP (BECAUSE OF THE PREGNANCY), BUT SHE WAS CLEARLY A VERY ATTRACTIVE GIRL BEFORE KASPER GOT HER KNOCKED UP. I WILL SEND YOU CHARACTER NOTES BY EMAIL.

   14  CAPTION:      Take TV out of this relationship, and it's just murder...

   15  GWEN:         And--?

   16  KASPER:       (Off) And what?

   17  GWEN:         And so you'll pay the light bill, right?

   18  GWEN:         You won't leave you mother and your pregnant girlfriend stranded in the dark, right?

(More)

6              GWEN FOLLOWS KASPER INTO THE TINY, RATTY KITCHEN. KASPER GRIM, TRYING TO IGNORE HER.

   19  GWEN:         I'm not gonna be embarrassed out of my mind by having to run extension cords from the hall, right?

   20  [3]GWEN:       We won't have people thinking we're on the welfare, right..?

   21  KASPER:       Gwen...

Page 13

1              IN THE KITCHEN, KASPER UNPACKS GROCERIES WHILE GWEN HARANGUES HIM.

    1  GWEN:         We've got a baby, Kasper-- a baby on the way.

    2  GWEN:         My folks kicked me out.

    3  GWEN:         I can't work-- your dad lost his pension--

    4  GWEN:         --so your mom's only got SSI--[4]

 

2              NEW ANGLE: MOM LOOKS DISAPPROVINGLY AT A BOX OF NOODLES.

    5  GWEN:         (Can be off) --you're all we got.

    6  GWEN:         So, what do you do, genius?

    7  GWEN:         You get yourself suspended from the police force--

    8  MA:           Kevin-- I said penne...

 

3              KASPER SNARLS AT GWEN, GWEN DOESN'T BACK UP: SHE'S NOT AFRAID OF HIM.

    9  GWEN:         --tryin' t'be some kinda super-cop--

   10  KASPER:       Gwen-- enough already.

   11  KASPER:       Look, they don't give grade bumps out like party favors.[5]

   12  KASPER:       The only way I'm gonna get us out of here is to stand out-- take risks--

(More)

4              GWEN EXITS. MA READS THE PASTA BOX WHILE PATTING KASPER ON THE SHOULDER. KASPER GRIM.

   13  GWEN:         Black Jack took risks, Kasper.

   14  GWEN:         Look where it got him.

   15  MA:           Kevin-- I distinctly asked for penne--

 

                CHAPTER HEADING

   16  TITLE:        Introductions

 

5              CUT TO:     A BODEGA: DETAIL: KASPER's HAND PICKS UP A BOX OF PENNE PASTA.

   17  CAPTION:      Day two of a five day rip.

   18  CAPTION:      They tend not to give grade bumps to cops with five-day rips in their jacket.[6]

   19  CAPTION:      Which was probably the reason my crew and I got set up--

 

6              NEW ANGLE: ESTABLISH THE TINY, CRAMPED STORE. KASPER ON LINE TO PAY FOR THE PASTA. ANNOYED. HUNTER (THE WHITE WOLF IN CIVILIAN GARB) STAND BEHIND HIM, BUT WE DON'T NOTICE HUNTER YET.

   20  CAPTION:      --ambushed on a routine drug bust.

   21  CAPTION:      Somebody made the call. Somebody in the house.

   22  CAPTION:      Somebody with a badge...

   23  HUNTER:       Who are you?

Page 14

1              KASPER TURNS AROUND: CONTEMPTUOUS SNEER.

    1  KASPER:       Santa Claus. What of it?

    2  HUNTER:       (Can be off) I know your name, Officer Cole--

    3  HUNTER:       --what I want to know is who you are--

 

2              NEW ANGLE: HUNTER: KEVIN SPACEY COOL.

    4  HUNTER:       --and what makes you think yourself worthy of the habit of a king.

    5  KASPER:       (Off) Got a lot of habits. Maybe be more specific...

    6  HUNTER:       Habit, Officer. As in raiment-- clothing--

    7  HUNTER:       --a certain Panther fetish...

 

3              CUT TO: AN ALLEY: HUNTER IS VIOLENTLY SHOVED OUT OF THE BACK DOOR OF THE BODEGA. HUNTER SOMEHOW RETAINS HIS DIGNITY, HE IS MORE AMUSED BY KASPER THAN INTIMIDATED BY HIM.

    8  CAPTION:      Red alert, dog--

    9  SFX:          WHAAAAMMM!!

   10  CAPTION:      --something wicked this way comes...

 

4              KASPER EMERGES FROM THE DARKNESS, PISTOL IN HAND BUT NOT AIMING IT YET, AN EVIL GLARE: KASPER IS A SCARY GUY.

   11  KASPER:       Since you know who I am, you know I'm the wrong guy to dance with.

   12  KASPER:       I'll leave your ice cream man self in this alley, and nobody will ask any questions about it.

   13  KASPER:       I suggest you start talking.

 

5              ON HUNTER, DUSTING HIMSELF OFF, AMUSED. HE IS KEVIN SPACEY: VERY COOL.

   14  KASPER:       (Off) Who sent you?

   15  HUNTER:       Idle curiosity. I am... a free agent at the moment.

   16  KASPER:       (Off) How did you know it was me in the costume?

   17  HUNTER:       I simply followed you.

Page 15

1              KASPER: STILL NOT AIMING THE GUN: IT'S OUT MAINLY FOR SHOW. BUT HE'S GRIM, CONAN-GRIM.

   1a  CAPTION:      All right... who’s this guy? Feds?

                     I.A.B.--?[7]

    1  KASPER:       Bull.

    2  KASPER:       I was careful--

    3  HUNTER:       (Off) You underestimate my powers,

                     Officer--

 

2              ON HUNTER: AMUSED.

    4  HUNTER:       --as well as the relevance of the path you have chosen.

    5  HUNTER:       I am Hunter. Chieftain of the Hatut Zeraze tribe-- the "Dogs of War."

    6  HUNTER:       Following you was elementary--

 

3              PULL BACK: SUDDENLY: THE ALLEY IS FULL OF HATUT ZERAZE (SEE REF; ESSENTIALLY WHITE VERSIONS OF THE BLACK PANTHER COSTUME), ALL OF THEM BRANDISHING CONVENTIONAL GUNS (TYPICALLY ASSAULT RIFLES).

 

                I MEAN IT: AS MANY OF THESE GUYS AS YOU CAN DRAW: THEY'RE EVERYWHERE: KASPER IS COMPLETELY SURROUNDED BY GUN-TOTING NUTS.

    7  HUNTER:       --it's all a matter of knowing how.

    8  HUNTER:       My elite guard use a crude cloaking system-- a combination of advanced science and tribal mysticism--

    9  HUNTER:       --which about sums up the nature of the people the panther habit represents--

   10  HUNTER:       --Wakanda.

 

4              EXACT SAME ANGLE: THE HATUT ZERAZE ARE GONE. JUST BLINKED OUT, AS THOUGH THEY WERE NEVER THERE.

   11  HUNTER:       But... I'm getting ahead of myself.

   12  HUNTER:       Let's start again, shall we?

   13  HUNTER:       Who are you-- and why do you wear the raiment of a king...?

 

5              ON KASPER: EYES NARROWED: A PREDATOR.

   14  CAPTION:      ...

   15  CAPTION:      ...really shoulda paid the light bill...

 

6              STAT.

   16  KASPER:       I found it. In an alley-- months back.

   17  KASPER:       Had one arm ripped off of it.

   18  KASPER:       Found out the hard way that the costume is bullet proof-- and much lighter than a vest.[8]

Page 16

1              THE ALLEY: KASPER HOLSTERS HIS WEAPON, HUNTER CONTINUES DUSTING HIMSELF OFF.

    1  KASPER:       Wore it under my clothes-- easier to do my thing.

    2  KASPER:       Then I'm doing this A-Buy over in New Lots--  deal goes south-- here comes the

                     drama--[9]

    3  KASPER:       --the costume protects me-- but my crew gets jumped--

 

2              KASPER: THE PREDATOR.

    4  KASPER:       --I get written up for no vest.

    5  KASPER:       Hard to explain I don't need a vest 'cause of the magic tights.

    6  KASPER:       Review board gives me a five-day rip-- a suspension. Three days to go.

 

3              HUNTER: KEVIN SPACEY COOL.

    7  HUNTER:       And, since you're on suspension, you technically have no police powers--

    8  KASPER:       --so I pull the mask on. Handle my business.

    9  KASPER:       No coroner, no foul.

(More)

4              WHATEVER

   10  KASPER:       Look, whoever-- tell your man Panther he can have his longjohns back--

   11  KASPER:       --in three days. Won’t need ‘em after that.

 

5              HUNTER: EVIL: JUST A HINT OF AMUSEMENT IN HIS EYE AS HE GLARES, TRYING TO TAKE KASPER’S MEASURE.

   12  HUNTER:       The Black Panther is dead.

   13  HUNTER:       I am a friend. I can help you with your journey.

   14  KASPER:       (Off) I'm not on any “journey,” Hunter--

 

6              C/U KASPER: EYES RIVETED: STILL WITH THE HOSTILE GLARE.

   15  KASPER:       --thanks but no thanks.

   16  HUNTER:       (Off) We are all on a journey, Officer Cole.

   17  HUNTER:       (Attach)  All of us-- mere travelers...

Page 17

                CHAPTER HEADING

    1  TITLE:        Very White

 

1              INT/A DARKENED ROOM: KASPER CAUTIOUSLY CLIMBS IN AN OPEN WINDOW, HIS GUN IN HIS HAND.  TYPICAL PREDATOR's EXPRESSION, KASPER STALKING HIS PREY.

 

                A DOUBLE-BARRELED SHOT GUN EXTENDS INTO PANEL FROM OFF, THE END OF IT A MERE INCH FROM THE BACK OF KASPER's HEAD. KASPER RETAINS HIS PREDATOR GLARE.

    2  VOICE:        (Off) Get yourself smoked like that, fool.

    3  VOICE:        (Attach) Drop the strap.[10]

    4  VOICE:        (Attach) Hand over the chicken.

 

2              NEW ANGLE: WE SEE WHO THIS IS: SERGEANT TORK (SEE REF). TORK IN TYPICAL PLAID WORK SHIRT OPEN TO REVEAL GRAY ATHLETIC SHIRT BENEATH IT ("QUEENS COLLEGE" COLLEGIATE LOGO EMBLAZONED ON TEE SHIRT).

 

                TORK SNARLING, ALL BUSINESS, HOLDING THE SHOT GUN. TAKES THE BAG OF FRIED CHICKEN FROM KASPER.

    5  TORK:         Doorbell works, y'know, dirtbag.

    6  KASPER:       (Off) Can't be seen rollin' up in this dump, Tork--

    7  TORK:         Sergeant. A.K.A. "Your boss."[11]

 

3              TORK, ANNOYED, MOVES TOWARDS THE KITCHEN AREA, HIS SHOTGUN NOW RESTING CASUALLY AGAINST HIS SHOULDER, A SMALL BAG FROM A CHICKEN RESTAURANT ("KCF" ON BAG) CLUTCHED UNCEREMONIOUSLY IN HIS HAND. KASPER FOLLOWS, HOLSTERING HIS OWN PISTOL.

 

                THE ROOM: TORK LIVES IN A CRAMPED, STUDIO (SINGLE ROOM) APARTMENT. THERE IS A KITCHEN AREA AS PART OF THE ROOM, AN OLD STYLE BATHTUB (WITH "FEET" ON THE FOUR CORNERS) IS IN THIS KITCHEN AREA, NEAR THE STOVE AND REFRIGERATOR, ETC.

 

                THERE IS A PLYWOOD BOARD OVER THE TOP OF THE BATH TUB, TORK USES THE TUB AS HIS KITCHEN TABLE (WHEN HE'S NOT TAKING A BATH).

    8  TORK:         Hear there was some drama with Dex and them.

    9  TORK:         Some dude dressed like a kitty.

   10  KASPER:       Tork--

 

4              THEY'RE SEATED AT THE BATH TUB: TORK DOESN'T LOOK AT KASPER, BUT REACHES INSIDE THE BAG, GETTING THE FRIED CHICKEN INSIDE.

   11  TORK:         Y'know-- I've been lookin' all over my palatial estate, here, for Panther's old costume--

   12  TORK:         --the one that got ruined in Harlem last year.[12]

 

5              TORK: SCRUTINIZING A FRIED CHICKEN WING, ANNOYED.

   13  TORK:         --what is this-- wings?!

   14  TORK:         You break in my house-- and bring me [Ital. Bold] wings--?!?

   15  TORK:         Anyhoo, Panther's ruined kitty suit was in my house until you came over to watch the Knicks game.

   16  TORK:         Y'know-- a cop who steals-- that's bad, Kasper.

Page 18

1              ON KASPER: LOOKING OFF AT SOME ANGLE, STILL HAS THE PREDATOR GLARE.

    1  KASPER:       Tork, man, I'm just borrowin' it... 'til this rip is over.

    2  KASPER:       That's why I needed to see you-- this white dude rolled up on me in the bodega--

 

2              TORK: ANNOYED, CHEWING THE CHICKEN.

    3  TORK:         How white?

    4  KASPER:       (Off) All the way live.

    5  TORK:         White clothes? White shoes? Platinum jewelry-- that kinda white--?

    6  KASPER:       (Off) That's it.

 

3              TORK GRABS A FISTFUL OF KASPER's SHIRT, YANKING ON IT (THE PANTHER COSTUME IS BENEATH KASPER's STREET CLOTHES. TORK ANGRY. KASPER DOES NOT RESPOND OR RESIST, JUST GLARES AT TORK.

    7  TORK:         Gimme the suit.

    8  KASPER:       Man, you trippin.'

    9  TORK:         Gimme the suit, Kasper-- trust me-- you don't want none of this.

   10  KASPER:       I need it, man-- just for a few days--

 

4              TORK, SNARLING, JABBING A FINGER.

   11  TORK:         The Pat Boone guy you met? His name is Hunter. They call him The White Wolf.

   12  TORK:         Get it? [Ital. Quotes] "White Wolf"? "Black Panther"?

   13  TORK:         The man is seriously bad news, Kasper-- tried to kill Panther--

   14  KASPER:       (Off) Yeah, well, maybe he succeeded--

 

5              WHATEVER

   15  KASPER:       --he says Panther's dead.

   16  TORK:         Nobody's seen Panther since he left Wakanda months ago-- Wolf coulda done him--

   17  KASPER:       It's just for a few days-- till I get myself straight with the job. [13]

   18  KASPER:       If Wolf wants to show me the ropes-- whatever, right?

Page 19

1              EXT/TORK's APARTMENT: ESTABLISH THE RATTY OLD TENEMENT IN HARLEM, N.Y.: STREET THUGS HANG OUT ON THE FRONT STEPS. OSCAR: WE HAVE NOT SEEN THIS BEFORE SO FEEL FREE TO INVENT THIS.

 

                COLOR: IT IS NIGHT: A LIGHT FROM A WINDOW.

    1  TORK:         (All From window) Kasper-- Kevin-- this is a dangerous game you're playin', pal.

    2  TORK:         Dex and his pals are Tre Delta Set--  66 Bridges.[14]

    3  KASPER:       Not my first day on the street, Tork.

    4  TORK:         Kasp-- 66 Bridges is the largest and most lethal gang in the country.

 

2              TORK, EATING CHICKEN: HE GRIMACES, EYES SQUEEZED SHUT, AS HE BITES INTO THE CHICKEN, WITH MENACE, LIKE WOLVERINE.

    5  TORK:         Sure, they do all the fun stuff-- drug traffic, extortion, murder--

    6  TORK:         --but they also build playgrounds, give out scholarships--

    7  TORK:         --they have lawyers. They've got a political action committee that lobbies congress.

    8  TORK:         Grace & Tumbalt do their P.R. for cripes' sake.                            (More)

3              KASPER: HEAD TURNED TO A PROFILE ANGLE, GLARING OUT INTO SPACE, NOT LOOKING AT TORK.

    9  TORK:         (Off) They're untouchable-- protected at the highest levels.

   10  TORK:         (Off) And here you go, rookie of the year, with his meow suit, kicking them in the shin.

   11  TORK:         (Off) Kasper-- if they find out you’re the guy in the Panther suit, they’ll kill your mother. They’ll kill Gwen.

 

4              STAT

   12  TORK:         (Off) They’ll kill Black Jack.

 

 

5              STAT

   13  KASPER:       I... I’ll be careful, Tork.

   14  KASPER:       Things I need. Things that won't wait.

   15  KASPER:       I only need three days.

Page 20

                CHAPTER HEADING

    1  TITLE:        Little Man

 

1              EXTERIOR: A RUN-DOWN STOREFRONT IN HARLEM. THIS STORE CASHES CHECKS FOR PEOPLE WHO DO NOT HAVE CHECKING ACCOUNTS. THE PEOPLE MILLING AROUND IN FRONT OF THE STORE, OR COMING IN OR OUT OF THE STORE, ARE BLACK AND HISPANIC POOR.

 

                COLOR:  IT IS NOW DAY.

    2  CAPTION:      Day three of a five-day rip.

    3  CAPTION:      On the job, there’s never enough free time.

    4  STORE SIGN:  CHECKS CASHED

    5  SIGNS:        PAYCHECK LOANS — MONEY ORDERS — UTILITY PAYMENTS

 

2              CUT TO: INSIDE THIS PLACE: VERY SMALL, CROWDED WITH PEOPLE WAITING IN TWO OR MORE LINES. THE FRONT COUNTER IS WALLED OFF BY THICK PLEXIGLAS, THE WORKERS WORK BEHIND THIS BULLET-PROOF GLASS.

 

                KASPER WAITS AMONG THESE PEOPLE. HE STANDS OUT BECAUSE HE’S TALL AND HAS AN AGGRESSIVE APPEARANCE. KASPER IS WEARING DIFFERENT CLOTHES, SOMETHING URBAN AND HIP (I WILL SEND YOU REFERENCE). IF WE SEE HIS FEET, HE STILL WEARS THE PANTHER’s BOOTS.

 

                KASPER IS ANNOYED. HE HOLDS HIS UTILITY BILL IN HIS HAND, ALONG WITH SOME CASH (NOT MUCH, A FEW $20 BILLS).

    6  CAPTION:      A rip gives you all the time in the world.

    7  CAPTION:      Only you don’t want none of it.

 

3              DETAIL: KASPER’s HAND: HOLDING THE UTILITY BILL AND THE MONEY: WE CLEARLY SEE HE’S HOLDING MAYBE $120 AT MOST, $20 BILLS.

    8  CAPTION:      Gives you too much time to repent of your sins...

    9  CAPTION:      ...to look for the bad badge who tried to kill you...

   10  CAPTION:      ..or, was it just a message...

 

4              FLASHBACK: ROUNDED CORNERS, PLEASE: FROM PAGE 7 PANEL 2:

                C/U: PANTHER: SNARLING, EVIL, HIS HAND HOLDING THE CASH IN FOREGROUND. MORE THAN ENOUGH CASH TO SOLVE ALL OF HIS FINANCIAL PROBLEMS.

— no copy —

 

5              RETURN TO PRESENT: NORMAL PANEL BORDERS:

                KASPER AT THE CASHIER’s WINDOW, THE PREDATOR GLARE, AS HE PAYS HIS BILL. THE CLERK ROUTINELY DOES THE PAPERWORK, NOT PAYING KASPER MUCH ATTENTION.

   11  CAPTION:      Pay the light bill.

   12  CAPTION:      Read the message...

Page 21

                CHAPTER HEADING

    1  TITLE:        Your Family My Family

 

1              EXT./COUNTRY ROAD: A GREYHOUND BUS PASSES BY OUR POINT OF VIEW. I CAN PROVIDE REF FOR THESE BUSES.

 

                COLOR: IT IS STILL DAY.

    2  BUS DESTINATION SIGN:  OSSINING

    3  CAPTION:      There once was the greatest cop who ever lived.

    4  CAPTION:      A proud and noble warrior, someone to be both feared and respected.

 

2              CUT TO: A PHOTO IN KASPER’S HAND: THIS IS “BLACK” JACK COLE, AGE 25 OR SO, IN HIS POLICE UNIFORM: SMILING. THIS IS A FORMAL PORTRAIT, BLACK JACK IN HIS DRESS UNIFORM. A PROUD DAY. THE AMERICAN FLAG (MOUNTED ON POLE IN CORNER) IN B/G.

    5  CAPTION:      Jonathan Payton Cole.

    6  CAPTION:      “Jack” Cole. Called him “Black” Jack because he was so dark.

 

3              THE INTERIOR OF THE BUS: A FULL LOAD OF PASSENGERS. THESE PEOPLE ARE LIKE THE PEOPLE OUTSIDE THE CHECK CASHING PLACE: POOR, BLACKS AND HISPANICS. A LOT OF KIDS, CRYING BABIES, LOTS OF STUFF IN THE OVERHEAD STORAGE: IT IS VERY CROWDED AND VERY UNCOMFORTABLE.

 

                KASPER SEEMS OBLIVIOUS TO IT ALL AS HE STARES AT HIS FATHER’s PICTURE. SOME KID IN THE SEAT NEXT TO KASPER, ASLEEP.

    7  CAPTION:      Just like they called his kid “Kasper,” because he was so light.

    8  CAPTION:      Black Jack Cole was the most highly respected cop on the force.

(More)

4              CUT TO: MED CLOSE-UP: BLACK JACK COLE, BEHIND THICK GLASS IN A PRISON VISITING AREA. TALKING INTO A TELEPHONE.  GRIM, PIERCING AND INTENSE EYES LOCKED ON HIS OFF-PANEL VISITOR.

 

                THIS IS A POWERFUL MAN, OSCAR. A MAN WHO COULD BREAK YOU IN HALF. BIG HANDS, BIG MUSCLES, BUT MORE THAN THAT, IT’S ALL IN HIS EYES. YOU CANNOT BULLSHIT A GUY LIKE THIS, HE KNOWS ABSOLUTELY EVERYTHING ABOUT YOU.

 

                BLACK JACK IS IN HIS 50’S. VERY LITTLE HAIR. DARK SKIN, THICK LIPS, MUSTACHE. AND THOSE EYES: THIS IS WHERE KASPER GETS HIS PREDATOR’s LOOK.

 

                BLACK JACK COLE IS BASED ON “WEST INDIAN ARCHIE,” THE DELROY LINDO CHARACTER FROM THE SPIKE LEE FILM Malcolm X. YOU CAN ALSO SEE LINDO IN Get Shorty, Ransom, AND THE RECENT GENE HACKMAN FILM, Heist. I WILL SEND YOU REF ON LINDO.

 

                COLOR: BLACK JACK WEARS A BRIGHT ORANGE JUMP SUIT.

    9  CAPTION:      An army of one.

   10  [15]JACK:        Lost your mind, have you.

   11  JACK:         Caught you a rip. On the job not two years.

 

5              REVERSE: KASPER ON THE PHONE. KASPER SLOUCHES TO ONE SIDE, HIS SHOULDERS TILTED IN THE DIRECTION HE’S LEANING, BUT HIS NECK REMAINS STRAIGHT AND HIS GLARE TRANSFIXED ON US. THIS IS FAIRLY AGGRESSIVE BODY LANGUAGE, THE LANGUAGE OF THE STREET.

   12  CAPTION:      It’s like I learned nothing from what they did to him.

   13  KASPER:       It was a set-up, Pop.

   14  KASPER:       One minute Sal Anthony’s asking me to run an errand--

   15  KASPER:       --next, my crew’s in rehab.

(More)

6              PUT THEM TOGETHER: PROBABLY A DOWN SHOT FROM ABOVE: THE GLASS SEPARATING THEM AS THEY TALK ON THE PHONE.

   16  JACK:         And you with a rip.

   17  [16]JACK:        Sal Anthony is Lew. Street cop never talk to Lew. Lew never talk to street cop--[17]

   18  JACK:         --never ask no favor.

Page 22

1              JACK: SCARY, ANGRY EYES.

    1  KASPER:       (Off) Sal Anthony, commanding officer of the 74, wants me in his pocket, Pop--

    2  KASPER:       (Attach) --get me into something--

    3  JACK:         Lew right. You in something.

    4  JACK:         Two days from now you go see Lew. Apologize. Do what he say.

 

2              WHATEVER WORKS

    5  JACK:         Then decide what kind of cop you be--

    6  JACK:         --in Lew’s pocket-- or in I.A.B.’s.

    7  KASPER:       Maybe I got a third choice.

    8  JACK:         Quit. Work in grocery-- drive cab.

    9  KASPER:       Other than that.

 

3              KASPER: THE PREDATOR.

   10  [18]JACK:        (Off) You go to Lew house-- put his brains all over de carpet. Problem solved--

   11  JACK:         (Attach) --then live with it, boy.

   12  KASPER:       I can’t, pop.  I won’t.

 

4              BLACK JACK: VERY SERIOUS.

   13  JACK:         Then, tell an old man what.

   14  CAPTION:      [Ital.] “Kasper-- if they find out you’re the guy in the Panther suit--

(More)

5              ON KASPER: SUDDENLY VULNERABLE: A LITTLE FEAR IN HIS EYES (NOT TOO MUCH, OSCAR!).

   15  CAPTION:      [Ital.] “-- they’ll kill Black Jack.”

 

6              LONG SHOT: ISOLATE FATHER AND SON. A CORRECTIONS OFFICER ARRIVES BEHIND BLACK JACK, PLACING A HAND ON HIS SHOULDER.

   16  KASPER:       Nothin’, pop. It’s nothin.’ You’re right.  I’ll apologize.

   17  JACK:         If you’re ever to be a good cop, Kasper--

   18  JACK:         --you need to learn to lie better than that.

   19  NEXT:         NEXT:  THE LAST TEMPTATION OF JOE PUSHEAD

 

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