PREVIOUSLY...

While Hunter, The White Wolf, actively pursued Kasper Cole as his new protégé, King T’Challa wanted nothing to do with Kasper and refused to answer any of Kasper’s questions, the most pressing of which: did T’Challa set all of this up? Did T’Challa CHOSE Kasper to succeed him? Kasper’s pursuit of the oddly eccentric king was interrupted by news of his father’s assault. “Black” Jack Cole, a highly decorated NYPD officer, was framed and sentenced to prison when Kasper was a teenager. Black Jack now clings to life following a jailhouse murder attempt. Meanwhile, Sal Anthony believes he has discovered the secret identity of the new Black Panther— Sgt. Tork!

 

BLACK PANTHER

Kevin “Kasper” Cole, son of hero cop “Black” Jack Cole, was an ambitious young narcotics officer who’d been suspended from the force following a disastrous unauthorized drug bust. Kasper “borrowed” one of The Black Panther’s old costumes from Sgt. Tork— Kasper’s boss and Panther’s former ally. He only needed it for three days.

 

SGT. TORK

Tork is a field supervisor with the Organized Crime Control Bureau, Narcotics Division of the NYPD, assigned to the 74th Precinct in the New Lots section of Brooklyn. A long-time ally of the original Black Panther, Tork is Kasper’s supervisor and friend.

 

LT. SALVADORE VERASCE ANTHONY

is a shift commander for the Patrol Services Bureau (the uniformed force) of the 74th Precinct. Sal is secretly a contract agent of the 66 Bridges Gang. Sal has a small inner circle of corrupt officers, DETECTIVE BERNIE SCRUGGS chief among them.

 

NIGEL “TRIAGE” BLACQUE

Triage is the CEO of Grace & Tumbalt, a public relations firm that is, essentially, an elaborate front for the ruthless 66 Bridges gang. Triage is the official spokesman for the “foundation” as he calls it, and is a savvy activist and lobbyist. He is also rumored to be the actual head of 66 Bridges, the mystery man known only as “Kibuka.”

 

GLOSSARY OF TERMS:

RMP = Radio Motor Patrol = a police car

Brick = kilo of cocaine

10-63 = Out of service - meal.

Tune Up = beat up

Lifts = fingerprint impressions

Up = up in the air = under surveillance

Tossed = searched

One-Two = 12th precinct, lower Manhattan

On The Arm = on the take = accepting bribes from criminals

The Job = the police department

Lew = Lieutenant = Sal Anthony

I.A.B. = Internal Affairs Bureau

 

Perp Walk = prisoners must be transferred from the arresting precincts to Central Booking in the South Bronx no later than the end of the shift. These prisoners are often paraded before press photographers as they are led off to transport vehicles.

 

Dre and Detective Scruggs made the count split back in issue #50

 

Osiibye otya nno? = Good evening (literally: "How Was Your Day?"); Bulungi = "Fine;" Tunaalabagana = "See you later," in Luganda

Page 2

                CHAPTER HEADING

    1  TITLE:        Faces

 

1              MED. C/U: BLACK JACK COLE. LYING IN A HOSPITAL BED. A BREATHING TUBE IN HIS THROAT, HIS HEAD PARTIALLY BANDAGED. BLACK EYE. HE LOOKS TERRIBLE. HE’S HAD THE TOTAL AND COMPLETE SHIT BEATEN OUT OF HIM.

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

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

    4  CAPTION:      Jonathan Payton Cole.

 

2              PULL BACK: WE SEE THE BLACK PANTHER STANDING OVER BLACK JACK’s BED. BLACK JACK IS IN AN INTENSIVE CARE UNIT INSIDE THE PRISON, FROM LAST ISSUE. A SURVEILLANCE CAMERA, A LARGE, OBVIOUS ONE, IS MOUNTED SOMEWHERE NEAR THE CEILING, MONITORING BLACK JACK. PANTHER PAYS IT NO MIND.

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

 

3              MED C/U: UP ANGLE (BLACK JACK’S POV) PANTHER: GRIM, GLARING DOWN AT US.

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

    7  CAPTION:      Pop--

 

4              ON BLACK JACK AGAIN: PANTHER’s HAND REACHES IN, COMFORTING BLACK JACK. BLACK JACK UNCONSCIOUS THROUGHOUT.

    8  CAPTION:      --what have they done... what have I done...

    9  CAPTION:      This was a warning-- a message...

(More)

5              ON PANTHER: HIS HAND PULLING THE BOTTOM OF HIS COWL UP OVER HIS CHIN: HE’S ABOUT TO REVEAL HIMSELF TO THE COMATOSE BLACK JACK.

   10  CAPTION:      ...from a bad badge.

   11  CAPTION:      A big mistake. I’ll visit him soon.

   12  CAPTION:      I came here to take you out of here, Pop. But, that’s not you--

   13  CAPTION:      --on the run. Breaking the law.

 

6              PANTHER EXITS, STILL HAS HIS MASK ON.

   14  CAPTION:      King T’Challa-- the real Black Panther-- made me see that.

   15  CAPTION:      I’m sure we took out the surveillance cameras, but even so--

   16  CAPTION:      --better protect Ma and Gwen-- and you--

   17  CAPTION:      ---

   18  CAPTION:      --I’ve gotta do better than this...

Page 3

1              THROUGH THE WINDSHIELD OF THE LEXUS: OKOYE DRIVES, GLARING STRAIGHT AHEAD, IGNORING KASPER, WHO SITS NEXT TO HER IN THE FRONT PASSENGER SEAT. KASPER STARES AT OKOYE, BUT SHOW NO EMOTION. HE IS HEAD OVER HEELS IN LOVE WITH HER, SHE DESPISES HIM.

 

                IF WE SEE HIM: T’CHALLA SLEEPS IN THE BACK SEAT (SEE FOLLOWING).

 

                THIS PICKS RIGHT UP FROM WHERE WE LEFT OFF LAST ISSUE. SAME CLOTHES.

                COLOR: IT IS NIGHT.

    1  CAPTION:      Okoye does 135 in the passing lane.

    2  CAPTION:      At some point, Panther mentions this car is invisible to police radar.

    3  CAPTION:      Now they tell me.

 

2              NEW ANGLE: T’CHALLA IN THE BACK SEAT, ASLEEP. HE LOOKS BURNED OUT, WASHED UP. A SHELL OF HIS FORMER, FEARSOME SELF. STILL IN HIS PAJAMAS AND BATH ROBE.

    4  CAPTION:      What the hell happened to him?

    5  CAPTION:      What... broke him...

    6  CAPTION:      He sucks it up for the Avengers... but in his off-hours, he’s this... wreck...

 

3              ON PANTHER: HE’S TURNED HIS HEAD SLIGHTLY TOWARD OKOYE. HE IS SMELLING HER HAIR, BUT TRYING NOT TO BE OBVIOUS ABOUT IT..

    7  CAPTION:      And, what’s this mean for me.

    8  CAPTION:      ---

    9  CAPTION:      --her hair... smells wonderful...

   10  CAPTION:      God...

(More)

4              HIS POV: OKOYE: SHE IS AWARE OF HIM BUT DESPISES HIM. COLD. ANNOYED.

   11  CAPTION:      ...she hates me.

   12  CAPTION:      Good. I can build on that. Hate is a good “in”...

 

5              BACK ON PANTHER: WINCING, NOW, A HAND TO HIS TEMPLE LIKE HE’S GOT A HEADACHE.

   13  CAPTION:      ...geez...

   14  CAPTION:      ...what have I done to my life? To Gwen--

   15  CAPTION:      --a girl I wouldn’t even still be seeing if she wasn’t pregnant--

   16  CAPTION:      --if Ma hadn’t talked me into staying...

Page 4

                FLASHBACK: ROUNDED CORNERS, PLEASE:

                COLOR: SEPIA OR MUTED TONES.

 

1              INT/KASPER’S RATTY LITTLE APARTMENT: GWEN IS STUFFING THINGS INTO A SHOPPING BAG, CLOTHES, PERSONAL ITEMS: SHE’S LEAVING HIM. KASPER’S TRYING TO REASON WITH HER. THIS IS THE RECENT PAST, GWEN STILL QUITE OBVIOUSLY PREGNANT.

    1  KASPER:       Gwen--

    2  GWEN:         No, Kasper, it’s all right. I understand.

    3  GWEN:         You’ve got the “I Want Out” face.

    4  GWEN:         I knew I’d see it the first time I let you get some.

 

2              ON GWEN, ANNOYED, TURNING, SNAPPING AT US, USE HER HAND. SHE IS SO GORGEOUS, EVEN ANGRY AND PREGNANT. SHE THINKS WE ARE AN INCREDIBLE ASSHOLE.

    5  KASPER:       (Off) That’s not true--

    6  GWEN:         It is true. It’s always true. It’s what men do.

    7  GWEN:         They beg and they beg and then you give it up and the countdown to the “I Want Out” face begins.

 

3              ON KASPER: ANNOYED, TRYING TO RETAIN HIS DIGNITY. THAT BLACK MAN SHIT.

    8  [1]KASPER:      Man, you just trippin’. Hormones and so forth.

    9  GWEN:         (Can be off) Kasper, you’ve got the “I Want Out” face. Rather than look at that every day, I think I’ll just be on my way.

   10  KASPER:       Where? Your folks threw you out-- that’s why you live with ma and me.

 

4              GWEN HAS HER BAG, MAKES HER EXIT SPEECH, HAS HER COAT ON (IT IS WINTER). BIG BELLY, BUT SHE IS STILL EXQUISITELY BEAUTIFUL. ANGRY AND IN FULL SPIRAL NOW.

   11  GWEN:         To the Y.

   12  GWEN:         To the Home For Stupid Korean Girls Who Got Themselves Knocked Up By Guys Who Now Have The “I Want Out” Face.

 

5              THE LIVING ROOM: GWEN STORMS OUT OF THE FRONT DOOR, KASPER STANDS IN THE LIVING ROM, ARMS FOLDED. MA IN THE MIDDLE, SOMEWHERE, HOLDING A CASSEROLE DISH. OVEN MITTS AND APRON. SHE GIVES KASPER A CONCERNED LOOK.

   13  CAPTION:      When your woman leaves you, the very first sensation you feel is utter relief.

   14  CAPTION:      Your mind starts surfing the cable channels.

   15  MA:           Kevin-- don’t just stand there--

 

6              THE STREET: IT’S SNOWING. GWEN HAS STOPPED, TURNING TO LISTEN TO KASPER, WHO HAS FOLLOWED HER TO THE STREET. HARLEM.

 

                COLOR: DAYLIGHT, SNOWING.

   16  KASPER:       Ok, you’re right. I’ve got the face.

   17  KASPER:       It’s just a little panic, Gwen.

   18  KASPER:       Help me get thru it.

Page 5

1              RETURN: NORMAL BORDERS NOW: PANTHER STILL TRYING TO SMELL OKOYE’s HAIR.

    1  CAPTION:      Didn’t think I could still feel like this...

    2  CAPTION:      ...that this could still happen for me.

    3  CAPTION:      This... newness... this... magic... the wondering--

    4  CAPTION:      --what will her kiss be like--?

 

2              LONG SHOT: THE CAR DRIVES ACROSS THE TAPPAN ZEE BRIDGE (I’LL TRY AND FIND REF). NEW YORK SKYLINE LOOMS IN THE DISTANCE: THEY ARE APPROACHING THE CITY.

    5  CAPTION:      If staying with Gwen means I can never feel this way again--

    6  CAPTION:      ---

    7  CAPTION:      --forget it. Concentrate on the job at hand-- on pop--

 

3              ANGLE: T’CHALLA: ANNOYED, AWOKEN FROM HIS SLEEP.

    8  PANTHER:      (Off) Panther.

    9  PANTHER:      (Attach)  PANTHER.

   10  PANTHER:      (Same) Who gave the order to kill Black Jack?

   11  T’CHALLA:     --how would I know such a thing--?

(More)

4              ON PANTHER, NOW TURNED AROUND TO FACE US (HE’S LOOKING AT T’CHALLA IN THE BACK SEAT).

   12  CAPTION:      This is the fearsome, invincible night creature...?

   13  PANTHER:      Stop working me, Panther-- this is my dad we’re talking about. Somebody tried to ice him tonight--

   14  PANTHER:      --or, did they--?

 

5              T’CHALLA, YAWNING.

   15  PANTHER:      (Off) If they wanted Black Jack dead, he’d be dead now.

   16  PANTHER:      (Attach) I think somebody wants me to think a hit was ordered--

   17  PANTHER:      (Same) --maybe the same somebody who gave me a folder stuffed with evidence against my crooked boss at the 74--

   18  PANTHER:      (Same) --Hunter, the White Wolf--

 

6              THE CAR ON THE HIGHWAY, FOLLOWING TRAFFIC SIGNS FOR THE BROOKLYN-QUEENS EXPRESSWAY.

   19  CAPTION:      --forget it It’s like I’m keeping him up.

   20  CAPTION:      Or, I’m just blowing it-- telling too much of what’s on my mind.

   21  CAPTION:      Something a good Panther never does.

   22  CAPTION:      On your own, baby...

Page 6

                CHAPTER HEADING

    1  TITLE:        Myths

 

                FOUR PANELS ACROSS THE TOP TIER:

 

1              AN IMAGE ON A THEATER SCREEN: TWO SMALL BLACK CHILDREN, AGES 8 AND 10, WALK THROUGH A VACANT LOT IN HARLEM. THIS LOT IS COVERED WITH GARBAGE: OLD TIRES, BOTTLES, HOUSEHOLD REFUSE, ABANDONED APPLIANCES (STOVES, REFRIGERATORS), AND WHAT REMAINS OF THE BUILDING THAT HAD ONCE STOOD THERE: SOME STRUCTURAL REMAINS: BRICKS, OLD, BROKEN DOORS, ETC.

 

                THIS IS TYPICAL OF MANY CITY BLOCKS IN HARLEM AND THE BRONX. I WILL TRY AND PROVIDE REFERENCE. IN B/G AND SURROUNDING: TENEMENT BUILDINGS IN VARIOUS STATES OF DISREPAIR.

 

                THIS IMAGE REPRESENTS URBAN BLIGHT AT ITS WORST.

 

                THE KIDS APPEAR VERY SAD.

    2  CAPTION:      [Ital.] Larry Mulholland’s six terms as House representative have yielded a steady decline--

    3  CAPTION:      --and urban blight. Empty promises and absenteeism from floor votes.

 

2              A NEW IMAGE: THE SAME KIDS, HAPPY NOW, AS THEY RUN, IN CARE-FREE FASHION, THROUGH A SIMILAR LOT: THIS LOT HAS BEEN TRANSFORMED INTO A LUSH, GREEN MINIATURE PARK: A SWING SET AND PARK BENCHES IN THE BACKGROUND.

 

                THINK OF THIS PANEL AND THE PREVIOUS ONE AS “BEFORE” AND “AFTER.”

    4  CAPTION:      Todd Jackson has made end runs around the Washington logjams--

    5  CAPTION:      --building coalitions within the private sector and creating programs that promote self-reliance--

(More)

3              ZOOM IN ON THE HAPPY KIDS: THIS IS A STILL IMAGE, THE MOTION HAS STOPPED.

    6  HEADLINE:     (This is part of the screen image)

                     JACKSON FOR CONGRESS

                     BUILDING THE DREAM TOGETHER

    7  CAPTION:      [Ital.] --making our communities safer, more productive, and more prosperous.

 

4              MEDIUM: SAL ANTHONY STEPS IN FRONT OF THE SCREEN. HE SIPS A BEVERAGE FROM A LARGE, COVERED UP (LIKE WE’D BUY FROM A CONVENIENCE STORE, A “BIG GULP” FROM 7-ELEVEN).

 

                SAL HAS A STOIC EXPRESSION.

 

                SAL ANTHONY, DRESSED EXACTLY AS HE WAS LAST ISSUE WHEN HE MET TORK IN THE BAR.

    8  SAL:          ‘Sgood.

    9  SAL:          Almost brings a tear to me eye.

   10  SAL:          We gonna do this or what.

 

5              NEW ANGLE:  WHO SAL IS TALKING TO: WE NOW SEE SEVERAL ROWS OF THEATER-STYLE SEATS BUILT ON AN ASCENDING ANGLE (SO EACH ROW IS A BIT HIGHER THAN THE ONE IN FRONT OF IT).

 

                THIS IS A SMALL SCREENING ROOM, A PRIVATE ROOM FOR HIGH-PAID EXECUTIVES.

 

                THERE IS ONLY ONE MAN SEATED IN THIS SCREENING ROOM: NIGEL “TRIAGE” BLACQUE, CEO OF GRACE & TUMBALT, A PUBLIC RELATIONS FIRM.

 

                AN EXECUTIVE SECRETARY WAITS WHILE TRIAGE SIGNS SOME FORMS. TRIAGE IS EMOTIONLESS, COLD AS ICE.

 

                TRIAGE IS BASED ON “SNOOP” MILLER, DON CHEADLE’s CHARACTER IN THE FILM Out of Sight. I WILL SEND YOU REFERENCE ON DON CHEADLE. YOU CAN HEAR THE WAY THIS GUY TALKS BY VISITING THIS WEB PAGE:

 

                http://digital-priest.com/viewpoint/bulworthm.htm

 

                TRIAGE IS A THIN, DANGEROUS-LOOKING MAN. A STREET HUSTLER IN A $3,000 SUIT AND A ROLEX. TRIAGE DOES NOT WEAR A NECK TIE, BUT WEARS AN EXPENSIVE, STYLISH SHIRT WITH A BANDED COLLAR. I WILL PROVIDE REF.

 

                GIVE HIM PIERCING, DEEP SET EYES THAT LOCK ONTO YOU AND MAKE YOU FEAR HIM. HE TENDS TO BOW HIS HEAD A BIT AND GLARE OUT OF THE TOP OF HIS EYES IN A VILLAINOUS AND MALEVOLENT FASHION. TRIAGE IS A VERY DANGEROUS AND VERY POWERFUL MAN.

   11  TRIAGE:       My man Sal. Whup whup.

   12  TRIAGE:       Glad you liked the spot.

   13  TRIAGE:       About Dre.

 

6              ESTABLISH THE ROOM: IT IS A SMALL MOVIE THEATER. SAL STANDS IN A ROW OR TWO IN FRONT OF TRIAGE, LEANING FORWARD, OFFERING TRIAGE A CD (COMPACT DISC).

   14  SAL:          Oh, Dre. We don’t see him no more.

   15  TRIAGE:       And, uh, who gave that order?

   16  TRIAGE:       Dre was a punk, Sal, but he was our punk.

   17  SAL:          You people don’t run us, Triage.

   18  SAL:          You exist because we allow it-- for a fee.

Page 7

1              ESTABLISHING SHOT: AN OFFICE BUILDING IN DOWNTOWN MANHATTAN. EXPENSIVE DESIGN. STYLISHLY INCORPORATE THE BUILDING NAME INTO THE DESIGN OF THE BUILDING ITSELF: GRACE & TUMBALT.

 

                COLOR: IT IS NIGHT.

    1  BUILDING NAME:       GRACE & TUMBALT

    2  TRIAGE:       (From penthouse) You know, Sal, I think you actually believe that-- that you still matter in the scheme of things.

    3  TRIAGE:       (Attach) That we don’t have people in, uh, your own ring of crooked cops who’d sell your pasta ass out for Knicks tickets and a ham sandwich.

    4  SAL:          (Separate voice) I believe a lot of things, Triage-- Santa Claus, Easter Bunny--

 

2              BACK INSIDE THE SCREENING ROOM: SAL, LEANING AGAINST THE BACK OF THE THEATER SEATS BEHIND HIM, ARMS FOLDED, AMUSED.

    5  SAL:          --federal racketeering indictments for Nigel “Triage” Blacque-- CEO of Grace & Tumbalt--

    6  SAL:          --a PR firm that exists only to promote the political action wing of the 66 Bridges Gang--

    7  TRIAGE:       (Off) --foundation--

    8  SAL:          --whatever.

(More)

3              TRIAGE PUTS THE CD INTO A HIGH-TECH PLAYER BUILT INTO A CONSOLE OR THE ARM OF HIS CHAIR: WHATEVER WORKS FOR YOU. TRIAGE REMAINS EMOTIONLESS.

    9  TRIAGE:       Okay, so I’m not your prom date.

   10  TRIAGE:       Still shouldn’t have moved on Dre without getting’ that spit cleared.

   11  TRIAGE:       Upsets allem, uh, checks and balances you in law enforcement have worked so diligently to propagate here in the private sector.

   12  TRIAGE:       Can’t have anarchy, Sal.

 

4              THE SCREEN AGAIN: ONLY, THIS TIME: THE IMAGE OF BLACK PANTHER LEAPING OUT OF THE WINDOW (FROM ISSUE #50).

   13  SAL:          (Off) News footage-- just a glimpse of something we all missed from the debacle a couple weeks back--

   14  SAL:          (Attach) --when Dre and Scruggsy were making the count split--[2]

   15  SAL:          (Same) --and the Black Panther dropped in. Only--

 

5              SAL STEPS IN FRONT OF THE SCREEN, AGAIN TAKING A SIP OF HIS DRINK. REPEAT THE PREVIOUS IMAGE BEHIND HIM.

   16  SAL:          --I don’t think that’s really the Panther.

   17  SAL:          Since when does Panther bust up drug deals? Carry guns? Wear a coat?

   18  SAL:          He stole an RMP to escape-- why would Panther need to escape?[3]

   19  SAL:          Then he sets up Dre to get Scruggsy on tape?

 

6              ON TRIAGE, NOW, LEANING FORWARD: EYES NARROWED, CONCENTRATING, HIS GAZE FIXED ON THE OFF-PANEL IMAGE.

   20  TRIAGE:       Sal-- giving me a headache, man.

   21  TRIAGE:       Why the jump do I give a damn about any of this?

   22  SAL:          (Off) The guy’s too amateur night to be Agency or FBI--

   23  SAL:          (Attach) --I think he might be a badge.

Page 8

1              ON SAL, STANDING IN FRONT OF THE SCREEN. ON THE SCREEN: A CLOSE-UP OF SGT. TORK: TORK HAS AN EVIL SMILE, HIS EYES JAMMED SHUT, LOTS OF TEETH, ALMOST AS IF HE WERE FROWNING AND SMILING AT THE SAME TIME.

 

                TORK GIVING US THE “THUMB’s UP” GESTURE, A FRIENDLY HAND SIGN.

    1  TRIAGE:       (Off) Tork?

    2  TRIAGE:       (Attach)  Sal-- you’ve lost it, dog.

    3  SAL:          We found “Panther”’s car in New Lots. Couldn’t get around the security to get inside--

    4  SAL:          --but we took some lifts off the door handle--

 

2              ON TRIAGE, FLIPPING THROUGH PAPERS OR A REPORT, IGNORING SAL NOW.

    5  SAL:          (Off) --Tork’s fingerprints.

    6  TRIAGE:       Sal-- I know that guy-- Tork’s a burnout hype, man. No way.

    7  SAL:          (Off) Yeah, that’s what I thought, too-- then we found Panther’s ordinance at Tork’s place--

 

3              RE-ESTABLISH THE ROOM: SMALL FIGURES, SAL AND TRIAGE.

    8  SAL:          --and Tork’s never around when Panther is.

    9  TRIAGE:       So? I’m never around when Panther is, dog. Neither are you.

   10  TRIAGE:       Enough with the Lois Lane spit, man.

   11  TRIAGE:       Maybe Tork’s just his little helper or somethin.’

 

4              SAL IS LEAVING NOW, CHECKING HIS WATCH AS HE SIPS HIS DRINK.

   12  SAL:          Yeah, maybe. But I got the guy up until I know for sure-- 24 hour surveillance on Tork and “Panther.”[4]

   13  SAL:          I doubt the guy can hurt us, but you might want to kick this one upstairs to your boss--

   14  SAL:          --the 66 Bridges Chairman-- Kibuka.

 

5              ON TRIAGE: GRIM, STUDYING THE STILL IMAGE OF TORK, WHICH REMAINS FIXED ON THE VIEWS SCREEN.

   15  TRIAGE:       Sal-- I’m an ad man. Creating myth is what I do.

   16  TRIAGE:       We created “Kibuka” to keep everybody in line and get you people looking in all the wrong directions.

   17  TRIAGE:       He’s our brand hype-- our Tony The Tiger.

   18  TRIAGE:       Kibuka is a myth, Sal. There is no Kibuka.

   19  SAL:          (Off) Like I said-- Santa and the Bunny, pal.

Page 9

                CHAPTER HEADING

    1  TITLE:        Omutabani Babiri

 

                THREE PANELS ACROSS TOP OF PAGE:

 

1              DETAIL: TRIAGE’s COMPUTER SCREEN.

    2  MESSAGE:      Osiibye otya nno?[5]

    3  REPLY:        (Different color) Bulungi.

    4  REPLY:        Just dealing with some ends.

 

2              TRIAGE AT HIS DESK AT THE GRACE & TUMBALT BUILDING. TRIAGE IS TYPING ON HIS COMPUTER. THIS IS NOT THE SCREENING ROOM (FROM PREVIOUS SCENE), THIS IS TRIAGE’s PRIVATE OFFICE. A LARGE ROOM, ELEGANTLY DECORATED WITH AFRICAN ART.

 

                MODERN DÉCOR: GLASS AND STEEL, HIGH TECH DEVICES, STEREO, CELL PHONES, ETC.

    5  CAPTION:      We are in the city.

    6  CAPTION:      You think that’s a good idea?

    7  CAPTION:      We must be here. We must deal with the threat.

    8  CAPTION:      Nothing I can’t handle, pop.

    9  CAPTION:      We could never doubt you. Still—

 

3              THE COMPUTER SCREEN. ALL TYPE HERE THE SAME COLOR.

   10  MESSAGE:      —there is much at stake.

   11  MESSAGE:      We will see you soon.

   12  MESSAGE:      Tunaalabagana.

(More)

                CHAPTER HEADING

   13  TITLE:        Tick Tock

 

4              SLIVER (NARROW) PANEL: EXT/A CLOCK SHOP ON PITKIN AVENUE IN BROOKLYN. NIGHT.

   14  CAPTION:      Nothing here but clocks.

   15  SIGN ON SHOP: TICK TOCK SHOPPE

   16  SIGN ON DOOR: CLOSED

 

5              CUT TO: INT/CLOCK SHOP: BLACK PANTHER SEARCHES THE STORE WITH A SMALL PEN LIGHT FLASHLIGHT.

   17  CAPTION:      Nothing to trace back to Sal.

   18  CAPTION:      Thought maybe I get lucky and find a brick with Sal’s wife’s name tagged to it...[6]

 

6              FLASHBACK ROUNDED CORNERS: SEPIA OR MUTED COLOR:

                FROM ISSUE #51 PAGE 4: SAL HANDS KASPER A SLIP OF PAPER WITH AN ADDRESS ON IT, SMILING. KASPER DOES NOT TAKE THE PAPER, BUT LOOKS AT IT, PUZZLED BY THE GESTURE.

 

                COLOR: IT IS DAY.

   19  SAL:          Hey-- you and Tork are over by Pitkin-- my wife’s clock is ready at the watch store on Euclid.

   20  SAL:          On your 63.[7]

 

7              RETURN: PANTHER’S LEXUS JETS DOWN CITY STREETS, NIGHT.

   21  CAPTION:      The errand was a test. It was a real clock.

   22  CAPTION:      The next trip would’ve been dope or cash--

   23  CAPTION:      --something Sal could hold over my head, to make himself feel safe.

   24  CAPTION:      Yeah, well, the hell with safe...

Page 10

                CHAPTER HEADING

    1  TITLE:        And You Know That I Know That You Know

 

                FOUR PANELS ACROSS: HEAD AND SHOULDERS OF BLACK PANTHER:

 

1              INT/A ROOM: SINGLE LIGHT OVERHEAD, SO PLENTY OF SHADOWS AROUND. PANTHER IS SEATED AT A TABLE, THOUGH WE DO NOT YET NED TO SEE THE TABLE.

 

                HE IS SPEAKING TO SOMEONE OFF-PANEL. GLOWERING. BARELY CONTAINING HIS RAGE.

 

                HE POPS HIS CLAWS, DISPLAYING HIS HAND, PALM FACING HIM (SO THE BACK OF THE HAND AND BACK OF THE CLAWS FACES WHOMEVER HE’S TALKING TO). LIGHT GLINTS OFF THE GLEAMING METAL CLAWS.

    2  PANTHER:      I am new to your lands. A stranger among you.

    3  PANTHER:      Your ways are not my ways.

    4  PANTHER:      Justice, however, has a universal quality. It serves all mankind-- makes us brothers.

 

2              SAME: PANTHER’s HAND DOWN NOW, NO LONGER THREATENING.

    5  PANTHER:      It is, therefore, in the very spirit of brotherhood that I now appeal to you.

    6  PANTHER:      A great and grievous evil has infested the national security and law enforcement structure of your country.

    7  PANTHER:      This evil has no true face, though it calls itself 66 Bridges. An evil so very--

 

3              SAME: PANTHER SUDDENLY LOOKS DOWN (HE’S GOT CRIB NOTES OFF-PANEL IN HIS LAP).

    8  CAPTION:      Wait-- lost my place--

    9  CAPTION:      ...yadda...yadda... 66 Bridges...grievous evil...

   10  CAPTION:      ...oh, there we go.

   11  CAPTION:      Remember the accent--

 

4              SAME: PANTHER RESUMES HIS POSTURE.

   12  PANTHER:      --so all-consuming-- that it is like unto a beast. A beast who shall devour all who serve it.

   13  PANTHER:      And, you are its servant, are you not--

 

5              REVEAL: A CHUBBY, MIDDLE-AGED PRISON GUARD, IN UNIFORM, BOUND TO A CHAIR. HIS PANTS DOWN AROUND HIS ANKLES, THERE IS A MINIATURE GUILLOTINE OF SORTS, MADE FROM RAZOR BLADES AND SPRINGS, ATTACHED TO THIS GUY’s DICK. WIRES EXTEND FROM THIS DEVICE AND WRAP AROUND TO A SMALL-ISH GRAPHIC DISPLAY (LIKE A MEDICAL HEART MONITOR) MOUNTED NEXT TO THE GUARD WHERE HE CAN SEE IT.

 

                JORGE: THIS MONITOR MONITOR’S THE GUY’S STRESS LEVEL. IF HE LIES, THE GUILLOTINE WILL CUT HIS JOINT OFF.

 

                THE GUARD IS PETRIFIED. HE’S SWEATED THROUGH HIS CLOTHES.

 

                JORGE: NOTE: PRISON GUARDS DO NOT WEAR METAL BADGES (WHICH COULD BE USED AS WEAPONS), BUT HAVE EMBROIDERED BADGE-DESIGN PATCHES. HIS HAT IS A BASEBALL “STARTER”:-STYLE CAP, ALSO WITH BADGE INSIGNIA EMBROIDERED ON IT.

   14  PANTHER:      (Off)  --correctional officer McGraw...?

   15  CAPTION:      Oscilloscope from Radio shack. 12 bucks. Fake wires that don’t actually do anything: 35 cents.

   16  CAPTION:      Look on fat boy’s face? Priceless.

   17  PANTHER:      (Off) One question, Captain-- one name.

   18  PANTHER:      (Same) Who gave the order for Black Jack Cole’s murder?

(More)

6              SMALL PANEL OR INSET: THE GUARD: PETRIFIED.

   19  GUARD:        ...he’ll... he’ll burn me...

   20  PANTHER:      (Off) Not if I burn him first.

   21  GUARD:        --S--sss--

   22  GUARD:        --Scruggs.

Page 11

                CHAPTER HEADING

    1  TITLE:        Circles

 

1              DETAIL: SOME FAMILY PHOTOS, IN FRAMES, ON THE MANTLE OF A FIREPLACE:

                THESE ARE SAL ANTHONY’s FAMILY PHOTOS.

 

                LYING ON THE MANTLE OR SHELF: PANTHER’s GUN. PANTHER’s GLOVED HAND REACHING IN, HANDLING ONE OF THE PHOTOS (HE’S PICKED IT UP OR IS TURNING IT TO LOOK AT IT. HE’S PUT HIS GUN DOWN FOR A MOMENT SO HE CAN DO THIS).

 

                THE PHOTOS CAN BE GROUPED TOGETHER IN ANY WAY:

 

                (1) A WEDDING PHOTO, SAL IN BLACK TUXEDO, A VERY PRETTY YOUNG BRIDE, THIS IS AN OLD PHOTO (SAL HAS BEEN MARRIED NEARLY 30 YEARS).

 

                (2) A STUDIO PORTRAIT OF TWO CHILDREN, TODDLERS, ABOUT TWO YEARS OLD AND THE OTHER CHILD ABOUT EIGHT MONTHS OLD. SITTING WITH SOME BUILDING BLOCKS OR OTHER JUVENILE PROP.

 

                (3)  A PHOTO OF A CHILD’s FIRST COMMUNION: A GIRL, AGE 12 OR SO, IN ELEGANT COMMUNION GOWN. WITH HER IS HER YOUNGER BROTHER, AGE 10 OR SO, PLAYFULLY MOCKING HER. A PRIEST CAN BE IN THIS PHOTO IF IT HELPS COMMUNICATE THAT THIS IS A COMMUNION PHOTO.

 

                (4)  A PORTRAIT OF A YOUNG WOMAN, AGE 21 OR SO, VERY PRETTY. SHE IS WEARING THE TRADITIONAL CAP AND GOWN FROM A GRADUATION CEREMONY, AND IS HOLDING A HIGH SCHOOL DIPLOMA, SMILING. THIS IS SAL’s DAUGHTER’s HIGH SCHOOL GRADUATION PHOTO.

 

                COLOR: THIS IS A DARK ROOM AT NIGHT. PANTHER IS USING A SMALL PEN-STYLE FLASHLIGHT.

    2  CAPTION:      Scruggs.

    3  CAPTION:      Sal Anthony’s gopher.

 

2              REVERSE ANGLE: SLIGHT UP ANGLE ON PANTHER, NOW HOLDING ONE OF THE FRAMED PHOTOS, LOOKING DOWN AT IT (THE BACK OF THE FRAME FACES US). WE NOW SEE HE IS USING A SMALL PEN-STYLE FLASHLIGHT.

    4  CAPTION:      Sal Anthony put the hit out on my dad.

    5  CAPTION:      Sal Anthony tried to kill my dad.

 

3              DETAIL: THE FRAMED PHOTO IN HIS HAND: THE YOUNG GIRL’s GRADUATION PHOTO.

    6  CAPTION:      Now I kill your dad.

    7  CAPTION:      Now I [Ital.] kill.

    8  CAPTION:      Sounds easy enough—

    9  CAPTION:      --nuts-- what’d I just bang my knee against--?!

 

4              NEW ANGLE: FULL FIGURE NOW: PANTHER HAS HIT HIS KNEE AGAINST A WHEEL CHAIR. HE SCRUTINIZES THE CHAIR, STILL HOLDING THE FRAMED PHOTO.

   10  CAPTION:      --damned wheelchair.

   11  CAPTION:      Fine place to leave the damned thing--

   12  SAL:          (Off) So...

   13  [8]SAL:         (Attach)  ...you gonna kill me or what.

 

5              CUT TO: THE FOYER OF SAL ANTHONY’s HOUSE: THIS IS A FAIRLY LARGE AND EXPENSIVE HOUSE IN SHEEPSHEAD BAY, BROOKLYN. SAL WALKING OUT OF THE FOYER, HIS MAIL IN HIS HANDS, IDLY SORTING THROUGH HIS MAIL.

 

                SAL IS WEARING WHATEVER HE WAS WEARING LAST ISSUE, CIVILIAN CLOTHES NOT HIS POLICE UNIFORM.

 

                SAL IS TIRED AND BORED. THIS ISA VERY ORDINARY MOMENT.

   14  SAL:          I mean, why else would you be here?

   15  SAL:          Kill me-- tune me up-- get me to confess my sin.[9]

   16  SAL:          That’s a lotta sin.

Page 12

1              RE-ESTABLISH THE FOYER: FULL FIGURE OF SAL SORTING HIS MAIL, THE DARKENED LIVING ROOM BEHIND HIM. SAL DOES NOT LOOK INTO THE LIVING ROOM: HE KNOWS PANTHER IS IN THERE.

 

                PANTHER HAS TURNED HIS FLASHLIGHT OFF.

    1  CAPTION:      Yes.

    2  CAPTION:      It is.

    3  SAL:          Well, I suppose I got it comin.’

   3a  SAL:          What was it Eastwood said in that movie-- [Ital. Quote] --“We all got it comin’, kid.”

 

2              CUT TO: MEDIUM: THE BLACK PANTHER, SITTING INSIDE THE DARK ROOM. HE STILL HAS NOT TURNED ON THE LIGHT.

 

                COLOR: PANTHER’S GLOWING EYES STAB OUT OF THE DARKNESS.

    4  SAL:          (Off) But, neither of us are virgins, right?

    5  SAL:          (Attach) The whole deal, on our job, is a series of circles.

    6  SAL:          (Same) Starts with the cardinal rule: never rat on another cop.

 

3              CUT TO: DETAIL: PANTHER’S HAND: HE HOLDS HIS GUN IN HIS HAND, THE HAMMER COCKED BACK, THE PISTOL READY TO FIRE. HE IS NOT AIMING IT, IT IS MERELY IN HIS HAND, READY TO BE USED.

    7  SAL:          (Off)  I mean, if you could’ve just gone to I.A.B., we wouldn’t be here now.

    8  SAL:          (Attach)  So it goes to the next circle: lying, or, remaining silent to avoid undermining another cop.

    9  SAL:          (Same) After all, it’s us against them. A cop’s life depends on the courage and competence of his crew.

 

4              CUT TO: DETAIL: PANTHER’s OTHER HAND: A HAND-WRITTEN NOTE WITH OVERSIZED LETTERS.

   10  NOTE:         DIRTY COP

   11  SAL:          (Off)  If a cop lies, there’s usually a good reason to go along, affirmatively or by silence. Which leads to the next

                     circle--

   12  SAL:          (Attach)  --cops who think lying is justified to nail the bad guys.

 

5              CUT TO: SAL, STILL IN THE FOYER, SORTING HIS MAIL.

                SAL IS SMART ENOUGH TO KNOW THAT, SHOULD HE MOVE, HE WILL LIKELY BE KILLED. HE ASSUMES A RELATIVELY SAFE POSTURE IN THE FOYER, LIKE AN ANIMAL THAT HAS WALKED INTO A TRAP.

   13  SAL:          If you know Triage is a skel in $3000 Armani silk, but can’t ever catch him dirty--

   14  SAL:          --you do what you have to to make the world right. Plant evidence, invent charges, whatever. You keep the streets safe.

   15  SAL:          And, enough of that leads to, I suppose, me-- whatever I am. And you--

(More)

6              CUT TO: CLOSE-UP OF PANTHER: GRIM.

   16  SAL:          (Off) --a good cop.

   17  CAPTION:      ---

   18  CAPTION:      --spit.

   19  CAPTION:      (Off) Oh, yeah-- I know who you are--

Page 13

1              SAL IN THE FOYER.

    1  SAL:          --your great interest in what happens to Black Jack Cole--  lifts off “Panther”’s car--[10]

    2  SAL:          --Black Panther’s gear at Sgt. Tork’s house--

    3  SAL:          --don’t take Sherlock Holmes, y’know.

 

2              CUT TO: PANTHER: GRIM, SNARLING.

    4  CAPTION:      Damn.

    5  CAPTION:      Damn, damn, damn.

    6  SAL:          (Off)  We’ve got rubber bullets-- riot ordinance the “Panther” used at the Fortress.

    7  SAL:          (Off) Shotgun shells from when “Panther” busted up Scruggsy’s count split.

 

3              CUT TO: DETAIL: THE PISTOL IN PANTHER’s HAND.

    8  CAPTION:      Running out of options.

    9  SAL:          (Off) We got video of you destroying evidence--

 

4              FLASHBACK: ROUNDED CORNERS, MUTED OR SEPIA TONES: FROM ISSUE #50: BLACK JACK BEHIND THE GLASS.

   10  JACK:         Go to Lew house. Put his brains all over de carpet.

   11  JACK:         Then live with it, boy.

 

5              RETURN TO PRESENT: NORMAL PANEL BORDERS AND COLOR:

                ESTABLISH: SAL’s LIVING ROOM: THE LIGHTS ARE NOW ON SO WE CLEARLY SEE THIS ROOM, NOW.

 

                PANTHER IS GONE.

   12  SAL:          --so, I suppose the question is, which circle are you on--?

   13  SAL:          Uhhhh-huh.

 

6              MEDIUM: SAL TALKS ON HIS CELL PHONE. AMUSED.

   14  SAL:          Yeah, it’s me.

   15  SAL:          He was just here. Had to play a few cards, but it was worth it. It’s definitely him.

   16  SAL:          Sergeant Tork is The Black Panther.

   17  SAL:          Call everybody.

Page 14

                CHAPTER HEADING

    1  TITLE:        Dads

 

1              INT/TORK’s PLACE: TORK ARRIVES, ANNOYED. TYPICAL JEANS AND FLANNEL SHIRT OVER LONG TEE SHIRT, SHOTGUN.

    2  KASPER:       (Off) They’re on to me. Sal knows.

    3  KASPER:       (Attach) He knows everything.

    4  TORK:         Kasper-- whoa, slow down--

    5  TORK:         --just because Sal moved on Black Jack--

 

2              NEW ANGLE: KASPER COLE, NOW IN TYPICAL URBAN WEAR, SITS ON TORK’s SOFA, HIS HEAD IN HIS HANDS. HE IS VERY UPSET, VERY WORRIED.

    6  KASPER:       Sal didn’t give the order.

    7  KASPER:       Somebody wants me to think Sal gave the order--

    8  KASPER:       --but tuning up my pop buys Sal nothing.

    9  TORK:         (Off) So, who gave the order?

 

3              THE APARTMENT: TORK LIVES IN A TINY, RAT HOLE OF A STUDIO APARTMENT. A BATHTUB NEAR THE KITCHEN AREA, A TABLE TOP OVER THE BATH TUB (SO HE CAN USE IT AS A TABLE WHEN HE’S NOT USING IT AS A BATH TUB).

 

                TORK LAYS HIS SHOTGUN ON THE TABLE TOP (OVER THE BATH TUB).

   10  KASPER:       I dunno-- it’s all head games, now-- everybody wants to be my dad--

   11  KASPER:       --White Wolf-- Sal-- Panther-- makes you dizzy.

   12  TORK:         You met Panther--?  He’s alive--?

   13  KASPER:       In a way. He spends all day staring out a window in his pajamas.

 

4              TORK: GRIM.

   14  TORK:         Say again--?

   15  KASPER:       (Off) That’s what I thought-- gotta be an act, right--?

   16  KASPER:       (Attach) Panther has checked out, man. I think Wolf is trying to help him--

   17  KASPER:       (Same) --like, say, by getting me killed.

 

5              KASPER, GRIM, A HAND BRACED AGAINST HIS TEMPLE AS THOUGH HE HAS A HEADACHE..

   18  KASPER:       Panther either steps in to stop it, or suits up to avenge it.

   19  KASPER:       Either way, end of the day, Wakanda has her king back...

   20  TORK:         (Off) Sal came to see me last night.

   21  KASPER:       ---

   22  KASPER:       --what--?!

Page 15

1              RE-ESTABLISH TORK’s 1 ROOM APARTMENT.. TORK OPENING A BEER NOW AS HE TALKS, KASPER STILL ON THE COUCH.

    1  TORK:         Took me to Kelsey’s while Scruggs tossed my place. I assume they found your little Jell-O bullets.

    2  TORK:         I’ve been up ever since. Gotta sweep the joint for bugs every hour.[11]

    3  TORK:         Dre-- that skel “Panther” sent to tape Scruggs? He’s dead. Found in a dumpster.

 

2              ON TORK: DRINKING HIS BEER.

    4  TORK:         That guard you interrogated will never testify-- and Scruggs is wrong.

    5  TORK:         Whatever Scruggs knows is wrong. He exists to be wrong-- fed misinformation by Sal every day.

    6  TORK:         That’s his purpose in life-- his job description-- to be wrong.

    7  TORK:         To gum up I.A.B.’s efforts to nail Sal.

 

3              ON KASPER, HIS HEAD BOWED, HIS HANDS CLASPED BEHIND HIS NECK: VERY STRESSED. THIS IS ALL TOO MUCH FOR HIM.

    8  TORK:         (Off) Kasper-- enough, now. Go home.

    9  TORK:         (Off) You’re gonna have too many of the wrong people using “Black Panther” and “Kasper Cole” in the same sentence--

   10  TORK:         (Off) --and then nobody in your life is safe.

 

4              TORK HANDS KASPER HIS COAT— SIGNALING IT IS TIME FOR KASPER TO GO HOME.

   11  TORK:         Sooner or later, it’s gotta dawn on you that you have a secret identity.

   12  TORK:         And you have four very precious reasons to keep it secret.

   13  KASPER:       So-- that’s it? They win?

   14  TORK:         For now, yes--

 

5              AT THE FRONT DOOR OF TORK’s APARTMENT: THE DOOR IS OPEN, TORK WATCHES KASPER LEAVE, TORK STANDING IN THE DOORWAY.

   15  TORK:         --but, these mutts always get theirs in the end.

   16  TORK:         Kasper-- people don’t just put on a costume and chase bad guys-- they’re driven to it. Obsessed.

   17  TORK:         You’re not one of those guys.

Page 16

1              TORK, ANNOYED, STANDS NEAR HIS FRONT DOOR. THE DOOR IS OPEN, AND TORK IS LOOKING OUTSIDE, HIS BACK TO US.

 

                HE IS WATCHING KASPER GO (WE DO NOT SEE KASPER IN THIS PANEL).

    1  TORK:         ---

    2  TORK:         --kids.

 

2              SAME ANGLE: TORK IS SHOT IN THE HEAD, THE SHOT COMING FROM OUTSIDE OF HIS APARTMENT. TORK’s HEAD SNAPS BACK AND HIS HAIR FLIES UP FROM THE WHIPLASH.

— no copy —

 

3              SAME ANGLE: TORK TUMBLES BACKWARDS, COLLAPSING, UNCONSCIOUS.

— no copy —

 

4              SAME ANGLE: WE CAN NOW SEE THERE IS A MAN STANDING AT TORK’s FRONT DOOR.

— no copy —

 

5              NEW ANGLE: MEDIUM: THIS MAN WHO HAS ARRIVED AT THE DOOR: SAL ANTHONY. SAL’s EYES DOWNCAST (HE IS LOOKING DOWN AT TORK, WHO IS OFF PANEL). GRIM EXPRESSION.

    3  SAL:          Shoulda took me out when you had the chance, Panther.

    4  SAL:          A mistake I’m less likely to make...

Page 17

                CHAPTER HEADING

    1  TITLE:        Precious Reasons

 

                FOUR PANELS ACROSS THE TOP:

 

1              INT/THE HALLWAY OUTSIDE OF KASPER’s APARTMENT DOOR: KASPER STANDS IN THE HALL, HIS KEYS IN HIS HAND, STARING AT THE DOOR. GRIM EXPRESSION.

 

                TACKED TO THE DOOR: AN OFFICIAL NOTICE FROM HIS LANDLORD.

 

                KASPER NOW WEARING TYPICAL CIVILIAN GARB, HIS POLICE UNIFORM IS IN A GARMENT BAG SLUNG OVER HIS SHOULDER (HE HOLDS THE GARMENT BAG HANGER WITH HIS FREE HAND).

    2  NOTICE:       NOTICE: LATE FEE $50

                                                LEGAL ACTION IF RENT AND FEE ARE NOT PAID WITHIN 10 DAYS

 

2              STAT.

    3  CAPTION:      They’ve been home all day. TV so hot you can fry an egg.

    4  CAPTION:      Which leaves two possibilities:

 

3              STAT.

    5  CAPTION:      (A) They didn’t see the notice.

    6  CAPTION:      (B) They deliberately left it here so I’d see it.

 

4              STAT.

    7  CAPTION:      Twelve minutes.

    8  CAPTION:      Still can’t get the key in the door.

 

5              FLASHBACK: STAT/REPEAT IMAGE OF PANTHER SMELLING OKOYE’s HAIR.

— no copy —

(More)

6              RETURN TO PRESENT: KASPER, ANNOYED NOW: A CRASH FROM INSIDE THE APARTMENT HAS DISTURBED HIS DAYDREAM.

    9  CAPTION:      Can’t lose the [Ital. quote] “I Want Out” face.

   10  CAPTION:      Gwen sees that, it’s gonna be an all night kind of deal...

   11  SFX:          KKEEE-RAAAASSSH!!

   12  CAPTION:      Eureka.

 

7              (MAKE THIS THE LARGEST PANEL ON THIS PAGE)

                INT/THE LIVING ROOM: GWEN AND MOM ARE ARGUING: GWEN IS NOW STANDING IN THE BUCKET SHE WAS SOAKING HER FEET IN EARLIER (IN THE GREEN GOBLIN SEQUENCE). GWEN SCREAMING AT MOM. GWEN DRESSED AS PER THE GOBLIN SEQUENCE: SPORTS BRA AND SWEAT PANTS.

 

                MOM HAS THROWN THEIR DINNER— A LARGE CASSEROLE DISH— TO THE FLOOR. MOM STANDS BY THE FOOD ON THE FLOOR, ARGUING WITH GWEN. MOM IS WEARING HER BRA AND A SLIP (A WHITE UNDERGARMENT THAT LOOKS LIKE A SKIRT).

 

                NEITHER WOMAN LOOKS PARTICULARLY ATTRACTIVE, HERE.

 

                KASPER CROSSES THE ROOM, IGNORING THESE WOMEN AS THEY ARGUE. HE HOLDS THE RENT NOTICE IN HIS HAND.

   13  CAPTION:      I can use the shouting match as cover.

   14  CAPTION:      Make it to the bathroom DMZ...

   15  MOM:          Kevin--  Kevin, dear-- tell her--!

   16  CAPTION:      I-am-not-listening-to-maniacs-I-am-not-

   17  GWEN:         Kasper--

   18  GWEN:         --hurry or we’ll be late!

 

8              SMALL PANEL OR INSET: MED. C/U: KASPER: GRIM AND SUSPICIOUS.

   19  CAPTION:      “Late?”

   20  CAPTION:      What’d I forget...?

   21  KASPER:       Late... for...?

Page 18

                CHAPTER HEADING

    1  TITLE:        Sons

 

1              SIMILAR TO PREVIOUS: MED C/U OF KASPER: ONLY, NOW, GWEN RECLINES AGAINST HIM, LEANING BACK AGAINST HIS CHEST.

 

                KASPER HAS THE EXACT SAME EXPRESSION AS IN PREVIOUS PANEL.

    2  CAPTION:      Oh, that’s right.

    3  CAPTION:      We’re having a baby.

    4  VOICE:        (Off) All right, mommies... just breathe deeply and relax...

 

2              ESTABLISH: A CHILD BIRTHING CLASS. A LARGE ROOM WITH SEVERAL COUPLES. THE WOMEN LIE ON MATS ON THE FLOOR, THEIR KNEES UP AS THOUGH THEY WERE GIVING BIRTH. THEIR HUSBANDS SIT BEHIND THEM, THE WOMAN RECLINING BACK AGAINST THE MEN AS THE MEN HOLD AND COMFORT THE WOMEN.

 

                OF COURSE, ALL OF THESE WOMEN ARE PREGNANT.

 

                A TEACHER, A MIDDLE-AGED WOMAN, HOLDS A STOP WATCH AS SHE CONDUCTS THE CLASS. SHE IS THE ONLY WOMAN WHO IS NOT PREGNANT AND SHE IS STANDING. SHE GESTURES TOWARDS A TELEVISION MONITOR. WE DO NOT NEED TO SEE THE IMAGE ON THE MONITOR.

 

                THE COUPLES ALL FACE A MIRRORED WALL (SO THEY CAN OBSERVE THEIR EXERCISES). THE ROOM IS OTHERWISE DECORATED IN COMFORTING JUVENILE FASHION: STUFFED BEARS AND FLORAL PATTERNS.

 

                IT IS AN EXTREMELY EMASCULATING ENVIRONMENT. COMFORTING TO WOMEN BUT UNPLEASANT AND THREATENING TO MEN.

    5  CAPTION:      Lamaze has to be the biggest racket in the world.

    6  CAPTION:      Our insurance gets billed a couple of grand for lessons--

    7  CAPTION:      --that all amount to screams of “epidural!” and curses at the father.

    8  INSTRUCTOR:  ...and watch the monitors...

 

3              IN CLOSE ON KASPER AND GWEN: THEY ARE NOW LOOKING UP AT THE (OFF-PANEL) MONITORS: GWEN SMILES, KASPER IS APPREHENSIVE: A LOOK OF ENCROACHING HORROR ON HIS FACE.

    9  CAPTION:      ...and...this horror... childbirth tapes...

   10  CAPTION:      It’s like some Freddy Kruger flick...

 

4              SAME: KASPER SMELLS GWEN’s HAIR: TRYING TO RECAPTURE THAT MOMENT WITH OKOYE. HIS EYES CLOSED HERE AS HE SMELLS HER HAIR. SHE IS UNAWARE OF WHAT HE IS DOING.

   11  CAPTION:      Gwen’s hair...

   12  CAPTION:      ...smells like babka...

   13  CAPTION:      ...not like Okoye... hide the face...

   14  GWEN:         ...hey... hey, daddy...

 

5              DETAIL: GWEN PLACES KASPER’s HAND ON HER PREGNANT BELLY.

   15  GWEN:         (Off) ...someone wants to say “hi.”

   16  CAPTION:      As in, [Ital. All quotes] “Hi, your Saturday mornings are ruined forever.”

   17  CAPTION:      “Hi, where’s my minivan?”

   18  VOICE:        (Off) ...and that’s what this is all about, mommies and daddies--

 

6              THE INSTRUCTOR, SMILING AS SHE GESTURES TO THE TV MONITOR: ON THE SCREEN: A MOTHER WHO HAS JUST GIVEN BIRTH HOLDS HER BABY FOR THE FIRST TIME.

   19  CAPTION:      “Hi, I’m three years of non-stop poop...”

   20  INSTRUCTOR:  --it’s why we sacrifice and plan and pray.

   21  INSTRUCTOR:  Why we do what we do.

   22  CAPTION:      Huh?  What she say--?

Page 19

                QUICK CUTS BETWEEN KASPER AND HIS MEMORIES OF PREVIOUS EVENTS. THE PANELS WITH KASPER IN THEM CAN BE RELATIVELY NARROW:

 

1              ON KASPER: INTENSE EXPRESSION NOW AS HE SCRUTINIZES THE (OFF-PANEL) TV MONITOR: HE IS SUDDENLY REALIZING SOMETHING.

    1  VOICE:        (Off) They are our future-- our hope for a better tomorrow.

    2  VOICE:        (Attach) Worth any sacrifice we need to make...

    3  CAPTION:      ...wait...

 

2              FLASHBACK: ROUNDED CORNERS, PLEASE: FROM ISSUE #50:

                AT TORK’S PLACE: TORK VERY SERIOUS AS HE GIVES KASPER ADVICE.

    4  TORK:         Kasper-- if they find out you’re the guy in the Panther suit, they’ll kill your mother.

    5  TORK:         They’ll kill Gwen.

 

3              RETURN:  SAME AS (1): ONLY NOW KASPER’S EXPRESSION IS MORE INTENSE: HE’s GETTING ANGRY NOW.

    6  CAPTION:      ...my... son...

    7  CAPTION:      ...Sal... 66 Bridges... sidelining me by threatening...

 

4              FLASHBACK: ROUNDED CORNERS PLEASE:  FROM ISSUE #53 PAGE 14: BLACK JACK BEHIND THE GLASS, ON THE PHONE (PERHAPS KASPER REFLECTED IN THE GLASS).

    8  ELECTRIC:     [Ital.] He’s your son, Jonathan.

    9  BLACK JACK:  No son, now. Not in here.

   10  BLACK JACK:  You listen good, now boy. You the man now. Be the man.

   11  JACK:         Put away childish things.

(More)

5              RETURN: SIMILAR TO (1): KASPER WORKING THIS OUT IN HIS MIND.

   12  CAPTION:      ...oh my god...

   13  CAPTION:      ...it’s, like, I just realized...

   14  CAPTION:      ...my... son...

 

6              FLASHBACK: ROUNDED CORNERS ON PANEL BORDERS, PLEASE:

                FROM ISSUE #53 PAGE 22: PANTHER: SNARLING, HIS OTHER FIST COCKED AND READY TO HAMMER T’CHALLA.

   15  PANTHER:      Why are you here? Why do you give a damn?

   16  T’CHALLA:     I am told your father was taken from you at an early age. As was my own.

   17  T’CHALLA:     A mighty warrior of the realm.

   18  T’CHALLA:     A man of great wisdom and faith.

 

7              RETURN TO PRESENT: NORMAL PANEL BORDERS: IN CLOSE ON KASPER: ANGER IN HIS EYES NOW.

   19  CAPTION:      ...my son...

 

8              FLASHBACK: ROUNDED CORNERS ON PANEL BORDERS, PLEASE:

                STAT/REPEAT FROM THIS ISSUE: TORK AND KASPER NI THE CAR, TORK GIVING KASPER ADVICE.

   20  TORK:         --don’t play their game, Kasper. They’re way better at it than you.

   21  TORK:         Just let it go.

 

9              RETURN TO PRESENT: ECU: KASPER’s EYES: A SIMMERING ANGER.

   22  CAPTION:      ...if I do...

   23  CAPTION:      ...what will he think of me...

                Page 20

                (SPLASH) BIG POSTER SHOT: THE BLACK PANTHER STALKING THROUGH BROOKLYN, LEAPING FROM A ROOFTOP, OR LURKING IN THE SHADOWS, CROUCHED NEAR A GARGOYLE: WHATEVER YOU’D LIKE. WE NEED A CLASSIC “POSTER”-STYLE SHOT OF BLACK PANTHER.

 

                COLOR: IT IS NIGHT.

    1  CAPTION:      ...of his father...

 

Page 21

                CHAPTER HEADING

    1  TITLE:        The Devil You Know

 

                THREE PANELS ACROSS TOP:

 

1              DOWN ANGLE: MED C/U: SGT. TORK: HIS HEAD BOWED, HE IS UNCONSCIOUS.

                JORGE: THIS POINT OF VIEW SHOULD BE AS THOUGH WE WERE STANDING OVER TORK, LOOKING DOWN ON HIM.

 

                WE WILL SEE TORK IS SITTING IN A CHAIR, HIS ARMS BOUND BEHIND THE CHAIR BACK. WE DO NOT NEED TO SEE THE CHAIR OR HIS BONDS HERE.

 

                COLOR: THIS IS A DARK ROOM, A SINGLE OVERHEAD LIGHT SOURCE. HEAVY SHADOWS ON TORK RESOLVE TO BLACK.

    2  VOICE:        (Off) Wake up, Tork.

    3  VOICE:        (Attach) Wake the hell up.

 

2              SAME ANGLE: A FIST EXTENDS IN FORM OFF-PANEL, PUNCHING TORK IN THE JAW. TORK’s HEAD SNAPS AROUND WITH THE BLOW, HIS HAIR SPIKING FROM THE WHIPLASH.

— no copy —

 

3              SAME ANGLE: TORK AWAKE NOW: AN EVIL SMILE, HIS EYES RIVETED UP AND FIXED ON US. TORK SHOULD SEEM A BIT SINISTER HERE, HIS SMILE IS MORE LIKE A GLARE.

    4  TORK:         --?

    5  TORK:         Oh, hi, girls-- back so soon--?

 

4              CUT TO: TORK’s POINT OF VIEW: THREE MEN. THEY ARE WEARING CASUAL CLOTHING, BLUE JEANS, SWEAT SHIRTS, LEATHER JACKETS: THEY DRESS INDIVIDUALLY (THEY DO NOT ALL WEAR THE SAME CLOTHING, THEY ARE NOT IN UNIFORM).

 

                THE MEN ALL WEAR BLACK SKI MASKS. OVERSIZED HOLES FOR THEIR EYES, NO HOLE FOR THEIR MOUTHS.

 

                THESE MEN ARE ALL ARMED: HANDGUNS TUCKED INTO THE WAISTBAND OF THEIR PANTS, ONE HOLDS A DOUBLE-BARRELED SHOTGUN, CASUALLY RESTING IT AGAINST HIS SHOULDER. ANOTHER HAS AN UZI.

 

                NONE OF THE MEN AIM THEIR WEAPONS AT TORK. THEIR WEAPONS ARE AT REST AND THESE MEN ARE, MORE OR LESS, POSING: MAKING AN ATTEMPT TO APPEAR THREATENING.

    6  TORK:         (Off) Think maybe this time, I’ll tell ya what you’ve been askin’ me all night--?!?

    7  MAN:          Be happy you ain’t dead, Tork.

    8  MAN:          We just clipped you with one of your own rubber bullets.

    9  MAN:          Next one comin’ at you’s gonna be Teflon coated.

 

5              ESTABLISH THE ROOM: A DINGY BASEMENT. VERY DARK, LOW CEILING, WATER DRIPS FROM OVERHEAD PIPES. A SINGLE OVERHEAD LIGHT SOMEWHERE: A BARE LIGHT BULB. THE ROOM RESOLVES INTO SHADOW BEYOND THE AREA OF LIGHT.

   10  TORK:         Stu--

   11  TORK:         --I used to clean up behind your poo-butt when you were a rookie over at the one-two.

   12  TORK:         The fright night mask is such a waste of time-- I know all of you sissies.

   13  TORK:         All of ya on Sal Anthony’s crew-- on the arm with 66 Bridges--[12]

 

6              MED CLOSE-UP: TORK: ANGRY NOW.

   14  TORK:         --and a disgrace to th’ badge.

   15  TORK:         But-- as much giddy glee as I’d get seein’ you an’ yer gal pals doin’ the 6 O’clock news perp walk--

   16  TORK:         --I’m not I.A.B.

   17  MAN:          (Off) Why are you running around pretending to be The Black Panther?

Page 22

1              ON TORK: NOW LAUGHING, EYES JAMMED SHUT, KIND OF HALF-LAUGH, HALF-SNARL.

    1  TORK:         You think I’m the Bla--

    2  TORK:         (Burst) BWAAAAAA-HAHAHAHAHA!!

    3  TORK:         Wait-- you think me?  You’ve been after me?!

    4  TORK:         Geez-- it’s a wonder you morons can find yer way to work--

 

2              NEW ANGLE: A HUGE MAN STEPS OUT OF THE SHADOWS. HIS BACK TO US, WE CANNOT SEE HIS FACE. HE IS WEARING BLACK LEATHER COAT. HE APPEARS TO BE AN ENFORCER.

    5  TORK:         (Can be off) --eh--?

    6  TORK:         Oh.

    7  TORK:         And now, the bad news...

 

3              IN CLOSE ON TORK: THIS MYSTERIOUS MAN HAS LOCKED A MASSIVE GRIP AROUND TORK’s THROAT, FORCING HIS HEAD BACK. THE MAN PRESSES A LARGE, SCARY KNIFE TO TORK’s THROAT WITH HIS FREE HAND.

 

                AN OVERSIZED KNIFE WITH A UNIQUE DESIGN TO THE BLADE AND TRIBAL ENGRAVING ON THE BLADE. THIS KNIFE SHOULD HAVE A UNIQUE DESIGN, IT WILL BE PART OF TRIAGE’s STANDARD WEAPONRY

 

                JORGE: THIS KNIFE IS THE EXACT SAME KNIFE TRIAGE USES NEXT ISSUE. MAKE CERTAIN  TORK SNARLS.

    8  TORK:         ...Kibuka...

    9  TORK:         ...I presume...

   10  VOICE:        (Off) We have traveled far.

   11  VOICE:        (Attach) We have come to restore the balance. Tell us the reason for your charade--

(More)

4              IN CLOSE ON KIBUKA: A GRANITE FACE, MUCH LIKE DARKSEID, WITH TRIBAL MARKINGS. THIS IS A FULL-FACE MASK. LONG, THICK DREADLOCKS SPIKE OUT OF HIS HEAD AND DRAPE DOWN HIS BACK. THIS IS A VERY FRIGHTENING MAN.

 

                JORGE: WE SHOULD SEE SKETCHES OF KIBUKA BEFORE WE COMMIT TO A FINAL DESIGN. HE IS, BASICALLY, WEARING A TRIBAL DEATH MASK, AND HAS WAIST-LENGTH DREADLOCKS.

   12  KIBUKA:       --and we will be merciful.

   13  TORK:         (Off) Panther’s a friend of mine. I do him a solid now and again--

   14  KIBUKA:       Lies. You have attacked us, posing as “Panther.”

   15  TORK:         (Off) Bubba-- can I call you “Bubba”--?

   16  TORK:         (Attach) I’m trying to tell you, ya got the wrong--

 

5              FLASHBACK: ROUNDED CORNERS, PLEASE: FROM ISSUE #50:

                AT TORK’S PLACE: TORK VERY SERIOUS AS HE GIVES KASPER ADVICE.

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

   18  TORK:         They’ll kill Black Jack.

 

6              RETURN TO PRESENT: NORMAL PANEL BORDERS AND COLOR:

                TORK, A SARCASTIC AND DISMISSIVE EXPRESSION. THE KNIFE STILL AT HIS THROAT.

   19  TORK:         Okay.

   20  TORK:         Okay, fellas, you got me.

   21  TORK:         --I am The Black Panther.

   22  TORK:         Now what--?

   23  NEXT:         NEXT: GLASS HOUSE OF THE LAST RIGHTEOUS MAN

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