PREVIOUSLY...

Trapped between crooked cops trying to recruit him and the White Wolf trying to befriend him, and finding no help at all in the strangely disengaged King T’Challa, Kasper Cole went on the offensive, looking for evidence to expose the connection between his boss, NYPD Lieutenant Sal Anthony, and the notorious 66 Bridges Gang. Kasper’s clash with the gang was interrupted by a mysterious military-style aircraft, which Kasper immediately saw as his best shot at empirical evidence of Sal’s corruption. Kasper’s efforts were derailed by an Internal Affairs officer, Captain Franklin “Delay” de LaGuardia, who has discovered the “Black Panther”’s true identity. Delay broke the news to Kasper that Sgt. Tork, Kasper’s close friend and supervisor, was killed by Sal’s men because Sal believed Tork was in fact the new Black Panther. Delay urged Kasper to go home, but grief and anger over his friend’s death— and Kasper’s own responsibility in that— drove Kasper to attempt a desperate maneuver: offer to join Sal’s crooked crew. To this end, Sal set up a small initiation for Kasper, instructing him to report to Dyker Beach Park at midnight.

 

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.

 

HUNTER: THE WHITE WOLF

Hunter is Chieftain of the outlawed Hatut Zeraze tribe (“Dogs of War”), the Wakandan Secret Police, and T’Challa’s adopted brother. Disbanded by King T’Challa shortly after his father’s death, Hunter and his operatives continued to operate globally as freelance intelligence agents.

 

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.

 

GLOSSARY OF TERMS:

RMP = Radio Motor Patrol = police car

2330 = 11:30 PM

Rat Squad = Internal Affairs Bureau

LoJack: a satellite tracking anti-theft device

Bus = R.A. = Rescue Ambulance

10-13 = Officer in danger

Lew = Lieutenant = Sal Anthony

Bulgogi: a popular Korean dish

Mule = drug courier

 

Wasuze otya nno? = Good morning (literally: "How Was Your Night?"); Bulungi = "Fine;" Tunaalabagana = "See you later," in Luganda

Pages 2-3

                (ACROSS THE TOP HALF OF THIS 2-PAGE SPREAD) AERIAL VIEW: A BEACH. A POLICE CAR IS PARKED IN THE SAND, NOT FAR FROM THE WATER. THE CAR APPEARS TO BE ABANDONED.

 

                AN OLD WOMAN, COVERED IN A HEAVY COAT AND A SHAWL, APPROACHES THE POLICE CAR. SHE IS AT LEAST 30 FEET FROM IT, BUT IT CLEARLY WALKING TOWARDS THE CAR.

 

                THE WOMAN’s FOOTPRINTS TRAIL BEHIND HER, EXTENDING AWAY FROM THE OCEAN AND OFF OF THE PAGE (INDICATING SHE HAS NOT COME FROM THE OCEAN, BUT FROM THE CITY STREETS).

 

                THERE ARE NO BOARDWALKS OR CONCESSION STANDS IN THIS VIEW. THERE MAY BE A FEW STEEL WIRE-MESH TRASH CANS LOCATED HERE AND THERE.

 

                THERE ARE NO OTHER PEOPLE ON THE BEACH.

 

                THE POLICE CAR’s TIRES HAVE SAND CAKED ON THEM. THERE ARE NO TIRE TRACKS FROM THE POLICE CAR: THE CAR HAS BEEN PARKED THERE FOR SEVERAL HOURS.

 

                JORGE: NEW YORK BEACHES IN WINTER USUALLY HAVE GARBAGE STREWN ALL OVER THEM: CANS, BOTTLES, NEWSPAPERS BLOW IN THE WIND: WHATEVER YOU CAN THINK OF. THIS IS A VERY UNPLEASANT AND LONELY PLACE.

 

                PLEASE GIVE THIS BEACH BREADTH AND SCALE: KEEP THE POLICE CAR RELATIVELY SMALL AND LET THE BEACH ITSELF DOMINATE THIS 2-PAGE SPREAD. MAKE THE BEACH ITSELF THE MAIN CHARACTER, HERE: THE BEACH INSTILLS US WITH FEAR AND FOREBODING.

 

                COLOR: IT IS NIGHT. SNOW FLURRIES THROUGHOUT THIS ENTIRE STORY. REMEMBER: IT IS WINTER.

— no copy —

 

                NINE PANELS ACROSS THIS 2-PAGE SPREAD:

                JORGE: THE PANELS THAT CONTAIN NO DIALOGUE CAN BE VERY NARROW PANELS.

 

1              INSIDE THE CAR: MEDIUM CLOSE-UP: KASPER COLE. HE IS NOT WEARING HIS PANTHER COSTUME. KASPER WEARING TYPICAL URBAN STREET CLOTHES. GIVE HIM A HOODED SWEATSHIRT, THE HOOD PULLED BACK AND OVERLAPPING HIS LEATHER JACKET.

 

                KASPER IS VERY GRIM: THE PREDATOR GLARE. HIS EYES LOCKED ON HIS REAR-VIEW MIRROR, HE IS WATCHING THIS WOMAN APPROACH.

— no copy —

 

2              FLASHBACK: ROUNDED PANEL CORNERS AND MUTED OR SEPIA TONES:

                FROM ISSUE 55 PAGE 18: DOWN ANGLE: KASPER’s POINT OF VIEW: SAL: STILL AMUSED, AN EVIL EYE, GLARING UP AT US. SAL THINKING THINGS OVER.

    1  SAL:          There’s a woman with a shopping cart down on Bay 13th Street in Dyker Beach.

    2  SAL:          Motor pool will assign you an RMP at 2330. You give the lady a lift to Grand Army Plaza.[1]

    3  SAL:          And there’s the peace.

 

 

3              DETAIL: THE REAR VIEW MIRROR: JORGE, ANGLE OR TILT THE MIRROR SO IT IS FOCUSED ON THE APPROACHING WOMAN. IT IS VERY DARK, AND WE CANNOT SEE THE WOMAN’s FACE. HER SHAWL AND A HEAVY SCARF PARTIALLY OBSCURES HER FACE.

 

                JORGE: THIS WOMAN SHOULD FILL US WITH DREAD AND FOREBODING. IS THIS A WOMAN? OR IS IT A HIT MAN? IS SHE A HUMAN BOMB? WHAT’s IN THE SHOPPING CART?

 

                BUILD TENSION, HERE.

— no copy —

 

4              DETAIL: KASPER’s HAND, RESTING ON THE PASSENGER SEAT: HIS GUN IN HIS HAND, THE HAMMER IS COCKED BACK, THE GUN IS READY TO FIRE.

— no copy —

 

5              FLASHBACK: ROUNDED CORNERS, MUTED OR SEPIA COLOR:

                MEDIUM CU: HUNTER, IN WHITE DRESS SUIT, SEATED COMFORTABLY, SMILING AS HE HOLDS A MARTINI GLASS ALOFT, ENJOYING A GENTILE SOCIAL MOMENT.

    4  VOICE:        (Off) So, Hunter-- you gonna help me or what?

    5  HUNTER:       Should I or my tribe, the Hatut Zeraze, aid you--

    6  HUNTER:       --it will greatly displease T’Challa, my king-- the true Black Panther.

    7  HUNTER:       More than incentive enough for me.

(More)

6              NEW ANGLE: WE ARE INSIDE HUNTER’s SUITE AT THE PLAZA HOTEL: A LAVISH AND LARGE HOTEL SUITE. PANTHER (OUR PANTHER) IS THERE. HE HAS REMOVED HIS TRENCH COAT AND IS OFFERING IT TO HUNTER.

 

                HUNTER CONTINUES TO RELAX, LEGS CROSSED, IN HIS HAIR. HE SCRUTINIZES THE COAT BUT DOESN’T TAKE IT.

    8  HUNTER:       Your plan is a good one. With a few minor enhancements...

    9  PANTHER:      Yah, whatever. You’ll need this.

   10  PANTHER:      Sal must see both Kasper Cole and Black Panther at the same time--

 

7              RETURN TO PRESENT: DETAIL: THE MIRROR: THE WOMAN IS CLOSER. WE STILL CANNOT SEE HER EYES. SHE IS THE SPECTER OF DEATH. VERY FRIGHTENING.

   11  CAPTION:      [Ital.] ”--or my whole family is dead.”

 

8              VIEW OUT OF KASPER’s WINDOW: THE WOMAN: LOOMING LARGE NOW, ARRIVING AT THE CAR, JUST OUTSIDE OF THE WINDOW. IT IS STILL VERY DARK AND WE CANNOT SEE HER FACE.

 

                THE WOMAN IS REACHING INSIDE HER COAT FOR A GUN. THIS IS IT, JORGE: SHE’S GONNA BLAST KASPER!!!

— no copy —

 

9              REVERSE ANGLE: THE WOMAN’s POINT OF VIEW:

                LOOKING INTO THE POLICE CAR FROM THE OUTSIDE: ON KASPER: SNARLING, AS HIS FIST COMES INTO VIEW: THIS IS NOT THE HAND HOLDING THE GUN, BUT HIS FREE HAND: HE HAS A SMALL PEN-STYLE FLASHLIGHT CLUTCHED IN HIS FIST, AND IS NOW SHINING IT. BRIGHT FLASH FROM THIS SMALL FLASHLIGHT, LENS FLARES AND REFLECTED LIGHT OFF OF THE GLASS AND METAL SURFACES OF THE POLICE CAR.

 

                IF WE SEE HIS OTHER HAND, HE IS ABOUT TO AIM THE GUN RIGHT AT US.

   12  CAPTION:      Ladies and gentlemen--

Page 4

1              KASPER’s POINT OF VIEW: UP ANGLE: VIEW OUT OF THE DRIVER’s WINDOW OF THE POLICE CAR: VIEW OF THE WOMAN, LEANING IN TOWARDS US.

 

                THE WOMAN RECOILS FROM THE BRIGHT LIGHT, STARTLED BY IT, LOSING HER GRIP ON A THERMOS BOTTLE OF COFFEE AND A LARGE :SUBMARINE” SANDWICH (A “SUB” SANDWICH IS AN OVERSTUFFED DELICATESSEN-STYLE SANDWICH ON A LONG, CYLINDRICAL ROLL).

 

                THE THERMOS BOTTLE DROPS, THE CAP COMING OFF OF THE BOTTLE, AS COFFEE SPILLS INTO THE CAR AND ON THE CAR DOOR.

 

                THE LIGHT (FROM KASPER’s OFF-PANEL FLASHLIGHT) REVEALS THE WOMAN TO US:

 

                IT IS RUTH COLE, KASPER’s MOTHER.

    1  CAPTION:      ---

    2  CAPTION:      --Ruth Cole.

    3  MOM:          (Burst)  AAAAIIIEEE---!!!

 

2              NEW ANGLE ON THE CAR: RUTH FLAILS ABOUT A BIT AS KASPER, ANNOYED, YELLS AT HIS MOTHER.

    4  MOM:          Kevin--!! What the devil is wrong with you?!?

    5  MOM:          I should have a heart attack, now!!

    6  KASPER:       Ma-- what are you doing here?!?

    7  MOM:          Fifty-five and hypertension, I’m going swimming.

    8  MOM:          What does it look like?!?

 

3              MEDIUM: ON RUTH, ANNOYED, GOING ON THE ATTACK, WHILE FLAILING HER HANDS DEMONSTRABLY: HER GAZE IS FIXED DOWN AT THE SPILLED COFFEE ON THE CAR AND THE GROUND, BUT SHE IS FURIOUS WITH HER SON.

    9  MOM:          That a mother should cook for her only child.

   10  MOM:          That I get arrested for.

   11  MOM:          That’s French Roast all over the sand, Kevin. Six-eighty a pound.

   12  MOM:          Well, I hope the ants enjoy it.

 

4              ON KASPER, GESTURING WITH HIS HANDS AS IF TO SAY, “LOOK AROUND, MOTHER— DO YOU SEE WHAT I AM DOING?” KASPER IS BEING VERY STEREOTYPICALLY JEWISH, HERE, A KIND OF MELODRAMATIC MOMENT FOR HIM AS HE ARGUES WITH HIS MOTHER.

   13  KASPER:       Ma-- how did you know I was here?

   14  MOM:          We were worried-- all these late nights you’ve been out--

   15  MOM:          --Murray-- that nice dispatcher--

   16  MOM:          --y’know-- the one with the eye--

 

5              VIEW OVER KASPER’s SHOULDER: HE’s TURNING TO LOOK AWAY FROM US, LOOKING NOW AT THE PASSENGER-SIDE WINDOW, WHERE GWEN HAS APPEARED. GWEN ANNOYED, GESTURING WITH AN UPTURNED HAND, AS IF TO SAY, “LOOK AT KASPER! LOOK AT WHAT AN IDIOT KASPER IS!”

   17  MOM:          (Off) --he said you were on patrol down here tonight--

   18  GWEN:         Which doesn’t explain all the other nights, Kasper!

   19  CAPTION:      And the hits just keep on coming...

   20  GWEN:         Hi. I’m Gwen. We’re having a baby.

   21  GWEN:         In case you forgot.

Page 5

1              CUT TO EXTERIOR VIEW OF THE CAR: RE-ESTABLISH THE SCENE: KASPER’s PATROL CAR: HIS MOTHER ARGUES WITH HIM FROM THE DRIVER SIDE WINDOW, GWEN SCREAMS AT HIM FROM THE PASSENGER SIDE WINDOW.

    1  MOTHER:       And where’s your uniform?

    2  MOTHER:       Oy, you look like a thug...

    3  MOTHER:       ...you should be in the back seat.. in handcuffs...

    4  GWEN:         Where ya been?

    5  GWEN:         Don’t you like us anymore?

 

2              CUT TO: INSIDE THE CAR: KASPER’s HEAD DOWN IN EXASPERATION, A HAND AT HIS FOREHEAD AS THOUGH HE WERE IN PAIN.

    6  CAPTION:      Gotta look up what the Torah says about suicide...

    7  GWEN:         (Off) Look, Kasper, if I’m gonna have to do this on my own, please tell me now.

    8  GWEN:         (Attach) This is, like, “The Date That Lasted 6 Months Too Long.”

    9  CAPTION:      Something... beeping... in the glove compartment--

 

3              DETAIL: THE GLOVE BOX: OPEN TO REVEAL A CELL PHONE INSIDE. KASPER’s HAND REACHES FOR THE CELL PHONE.

   10  CAPTION:      --somebody left a cell phone in here--?!

   11  MOM:          (Off) --at least run the motor and turn some lights on-- you’ll catch your death--

   12  GWEN:         (Off, other direction) My parents threw me out, Kasper-- if you’re not gonna hold up your end--

 

4              KASPER, ANNOYED, ON THE PHONE: HE WAVES HIS FREE HAND IN A CUTTING MOTION, AS IF TO SAY, “SHUT UP!” TO HIS MOTHER AND GIRLFRIEND.

   13  CAPTION:      Rat Squad. Captain de LaGuardia...[2]

   14  ELECTRIC:     [All Electric Ital. Please] It’s Delay.

   15  ELECTRIC:     The Job knows about Sal’s little initiation tonight, Kasper--

   16  ELECTRIC:     --you pick up a mule-- deliver her and her package to Grand Army Plaza.

 

5              EXTERIOR: THE POLICE CAR ON THE BEACH, THE TWO WOMEN BICKERING AT KASPER.

   17  ELECTRIC:     Then Sal’s comfortable that he has something on you-- he leaves you be.

   18  ELECTRIC:     But, we both know that’s not gonna happen.

   19  ELECTRIC:     You do this-- Sal will own you forever.

 

5              IN CLOSE ON KASPER: GRIM, TALKING ON THE PHONE.

   20  ELECTRIC:     Look, Kasper-- if you don’t report this, I gotta write it up.

   21  ELECTRIC:     If you do report it, well, then you’re working for us.

   22  ELECTRIC:     Either choice means you’re not a cop anymore.

Page 6

                CHAPTER HEADING

    1  TITLE:        Dividends

 

1              EXTERIOR: A TAXI CAB STORE IN BROOKLYN. THIS IS A STOREFRONT BUILDING, ONE OF MAN STOREFRONT BUSINESSES ON A RUN-DOWN STREET.

 

                KASPER’s PATROL CAR IS DOUBLE PARKED OUTSIDE OF THIS STORE. ONE OR TWO GYPSY CABS ARE PARKED IN FRONT OF THE STORE.

 

                STANDING NEAR THESE CARS: KASPER ARGUES WITH ONE OF THE TAXI DRIVERS. MAKE THIS DRIVER A PAKISTANI OR EAST INDIAN (NO TURBAN, PLEASE, TYPICAL AMERICAN CASUAL CLOTHING). THE DRIVER DOES NOT WANT TO TAKE KASPER’s FAMILY TO HARLEM.

 

                JORGE: A GYPSY CAB IS NOT THE YELLOW TAXI CABS INCLUDE DIN YOUR REFERENCE. A GYPSY CAB IS A REGULAR 4-DOOR AUTOMOBILE, USUALLY WITH THE NAME OF THE TAXI COMPANY PRINTED ON THE DRIVER AND PASSENGER DOOR. THIS CAR DOES NOT HAVE THE SERVICE LIGHT YELLOW TAXIS HAVE ON THEIR ROOF.

 

                GYPSY CABS CAN BE ANY CAR YOU CHOSE, BUT THEY MUST BE 4-DOOR CARS. THESE CARS ARE USUALLY IN RUN-DOWN CONDITION WITH BODY DAMAGE, BROKEN HEADLIGHTS OR OTHER DEFECTS.

    2  DRIVER:       Harlem? Why, no, I don’t think so.

    3  DRIVER:       How many fares you think I’m gonna get comin’ out of Harlem at midnight, pal?

    4  DRIVER:       I bring a white woman and a  preggers Oriental chick to Harlem this time of night--

    5  DRIVER:       --somebody’s gonna think they’ve been kidnapped.

 

2              NEW ANGLE: THE GYPSY CAB: WE NOW SEE MOM AND GWEN IN THE BACK SEAT OF THE GYPSY CAB: MOM GESTURES WITH HER HAND, TRYING TO CONVINCE KASPER TO DRIVE THEM HOME HIMSELF. GWEN SULKS, ARMS FOLDED.

    6  DRIVER:       (Off) It’s all that bin Laden spit...

    7  MOM:          Kevin-- we’ll just wait for your shift to be over-- you can drive us home...

    8  GWEN:         He doesn’t want to drive us home, Ruth.

    9  GWEN:         Mess up his plans for the evening.

 

3              ON THE TAXI DRIVER: A HANDSOME PAKISTANI MAN, EARLY THIRTIES, TYPICAL AMERICAN CLOTHES, JACKET. HE SIPS COFFEE WHILE COMPLAINING ABOUT HIS TREATMENT IN THE UNITED STATES.

   10  DRIVER:       bin Laden. I’m Pakistani-American. I was born on Staten Island, for crissake.

   11  DRIVER:       Now, I drive 3 feet, I need my passport.

   12  DRIVER:       I didn’t even have a passport before bin Laden.

   13  DRIVER:       I got a passport just because, every 3 feet, now, some flatfoot like you asks me for my goddamned passport!

 

4              MEDIUM: KASPER AND THE DRIVER: KASPER’s HAND IS UP AT THE DRIVER’s EYE LEVEL, KASPER DISPLAYS HIS POLICE BADGE TO THE DRIVER. IN KASPER’s OTHER HAND HE HOLDS A $20 BILL. HE IS OFFERING THE DRIVER A CHOICE.

 

                KASPER IS GRIM, THE TAXI DRIVER IS ANNOYED.

 

                KASPER’s POLICE BADGE IS MOUNTED ON A SMALL LEATHER PATCH AND HUNG FROM A BEADED CHAIN AROUND HIS NECK. HERE THE CHAIN BOWS, ARCING TO THE BADGE IN KASPER’s HAND.

   14  DRIVER:       My life is just full of rich bin Laden dividends--

   15  KASPER:       Yeah, whatever--

   16  KASPER:       --What’s it gonna be, hoss? The money or the badge?

   17  DRIVER:       Twice the fare. Up front.

   18  DRIVER:       Plus tip.

(More)

5              CUT TO:  THE TAXI PULLS OFF, KASPER STANDING ON THE STREET WATCHING IT GO.

   19  CAPTION:      I wonder... when the city marshal posts the eviction notice on our door--

   20  CAPTION:      --if either of them will remember they made me give our rent money to a whiny taxi driver.

 

6              KASPER AT HIS POLICE CAR: HE HAS THE DOOR OPEN, ABOUT TO GET IN, BUT SOMETHING HAS CAUGHT HIS EYE: HE IS LOOKING AT ANOTHER GYPSY CAB, PARKED ON THE STREET SOMEWHERE.

 

                COLOR: IMPORTANT:  GYPSY CABS ARE NOT PAINTED IN UNIFORM COLORS, AND THEY ARE NOT ALL THE SAME MAKE AND MODEL OF CAR. PLEASE BE SURE THE CAB KASPER BORROWS (SEE FOLLOWING) IS NOT THE SAME COLOR AS THE CAB HE SENDS HIS FAMILY HOME IN. OTHERWISE, THIS WILL BE VERY CONFUSING.

 

                PLEASE BE ABSOLUTELY SURE THESE CARS ARE VISUALLY DISTINCT FROM EACH OTHER, AND THAT KASPER IS CLEARLY IN A DIFFERENT CAR THAN THE ONE HE SENT HIS FAMILY HOME IN. THANKS!

   21  CAPTION:      Too much to ask for, I suppose--

   22  CAPTION:      --whoa--

   23  CAPTION:      --papa catches himself a clue, here...

Page 7

                CHAPTER HEADING

    1  TITLE:        Clues

 

1              REPRISE THE OPENING SCENE: THE BEACH. NOW, INSTEAD OF THE POLICE CAR, A GYPSY CAB WAITS ON THE BEACH.

 

                ANOTHER WOMAN APPROACHES THE CAR. THIS WOMAN IS TOWING A SMALL PERSONAL SHOPPING CART BEHIND HER. I WILL SEND REF. THE WOMAN’s FOOTPRINTS AND THE TRACKS FROM THE CART WHEELS TRAIL BEHIND HER, EXTENDING TOWARDS THE OCEAN (INDICATING SHE COME FROM THE OCEAN).

 

                JORGE: THIS IS THE GYPSY CAB KASPER WAS LOOKING AT IN THE PREVIOUS PANEL. NOW THERE ARE TIRE TRACKS FROM THE VEHICLE: IT HAS NOT BEEN THERE VERY LONG.

    2  CAPTION:      Ditching the RMP loses Sal whatever bugs or bombs or LoJack he had on it.[3]

    3  CAPTION:      That’s one for Kasper.

    4  CAPTION:      She’s been waiting. She needs me.

    5  CAPTION:      And I need her.

 

2              CUT TO: INTERIOR OF THE CAR: KASPER, GRIM, SLOUCHING TO ONE SIDE IN A KIND OF ARROGANT BODY LANGUAGE (LIKE  DR. DOOM ON THE THRONE), WHILE AGAIN USING THE REAR-VIEW MIRROR TO TRACK THE APPROACHING WOMAN.

 

                JORGE: A CLEAR PLASTIC PARTITION DIVIDES THE FRONT SEATS FROM THE BACK SEATS. THIS PARTITION IS BULLET-PROOF AND DESIGNED TO PROTECT THE DRIVER. IT EXTENDS FROM THE TOP OF THE SEAT TO THE ROOF OF THE CAR. BELOW THE GLASS IS A METAL PLATE WHICH ACTS AS A DIVIDE BETWEEN THE FRONT SEATS AND BACK SEATS.

 

                INFORMATIONAL STICKERS ARE USUALLY ON THIS PLASTIC PARTITION, AND THE PLASTIC IS USUALLY DIRTY OR HAZY: IT IS NEVER VERY CLEAN.

    6  CAPTION:      Her and a Black Hawk chopper pilot--

    7  CAPTION:      --the one that strafed Triage’s penthouse last night.

    8  CAPTION:      The pilot’s very existence provides a link between Sal and the 66 Bridges Gang and the CIA-- or whoever that pilot works for.

    9  CAPTION:      I find him-- I can start dealing my way out of this mess...

 

3              DETAIL: TAPED TO THE DASHBOARD NEAR THE GLOVE COMPARTMENT:  SOME WORN PHOTOGRAPHS OF THE TAXI OWNER’s CHILDREN. JORGE, THESE CAN BE ANYTHING. WE HAVE NOT SEEN THE OWNER OF THIS TAXI, SO THE KIDS CAN LOOK LIKE ANYONE.

 

                JORGE: GYPSY CABS DO NOT HAVE FARE METERS. ALSO, THERE WOULD BE NO LICENSE DISPLAYED BECAUSE GYPSY CABS ARE LIVERY VEHICLES AND ARE NOT LICENSED THE SAME WAY “YELLOW” CABS ARE.

   10  CAPTION:      ...get my life back.

   11  CAPTION:      Raise my son...

 

4              ANGLE ON KASPER: HE IS NOW HOLDING ONE OF THE PHOTOS: STUDYING THE KIDS.

   12  CAPTION:      ...my son...

 

5              CUT TO: EXTERIOR OF CAR: THE REAR DECK LID TRUNK OPEN: KASPER LIFTS THE SHOPPING CART INTO THE TRUNK (THE SHOPPING CART LAID ON ITS SIDE). IF WE SEE THE WOMAN, SHE OBSERVES FROM SOME DISTANCE BUT SHE DOES NOT SEE INSIDE THE TRUNK.

 

                JORGE: IMPORTANT; WE DO NOT SEE WHAT IS INSIDE THE TRUNK.

   13  CAPTION:      Could be thirty million in coke in the shopping cart.

   14  CAPTION:      Could be 60 pounds of laundry detergent.

   15  CAPTION:      Either way, Sal gets what he wants--

   16  CAPTION:      --me on a leash.

Page 8

1              NEW ANGLE: KASPER VIOLENTLY SLAMS THE WOMAN AGAINST THE SIDE OF THE CAR, JAMMING HIS PISTOL AGAINST THE BACK OR SIDE OF HER NECK. HE IS FORCING HER INTO THE STANDARD “FRISK” POSITION: BOTH OF HER HANDS ON THE CAR, LEANING FORWARD AGAINST THE CAR.

    1  CAPTION:      A New York cop’s badge is a slippery thing.

    2  CAPTION:      Tough to get. Tough to hold on to.

    3  CAPTION:      Whether that’s coke or not doesn’t matter. If I believe it’s coke, it’s still a felony.

    4  CAPTION:      My criminal intent will cost me the shield.

 

2              IN CLOSER AS KASPER SEARCHES THE WOMAN: HE KEEPS HIS PISTOL JAMMED AGAINST HER NECK. HE USES HIS FREE HAND TO SEARCH HER FOR WEAPONS AND BOMBS AND RECORDING DEVICES.

    5  KASPER:       All right, sister-- whatcha got for me?

    6  CAPTION:      Department policy is female suspects are searched only by female officers.

    7  CAPTION:      Just one of a variety of regs about to be broken tonight.

    8  CAPTION:      Junkie-- hooker-- watch the needles in her pockets--

 

3              MED. C/U: THIS WOMAN: KASPER’s HAND YANKS HER SCARF FROM AROUND HER FACE: SHE IS A TEENAGE GIRL, ABOUT 15 YEARS OLD. SHE REGARDS KASPER WITH CONTEMPT: SHE IS USED TO BEING MISTREATED BY CORRUPT POLICE OFFICERS: SHE ASSUMES THAT’s WHAT KASPER IS.

    9  CAPTION:      God, this sucks. She’s just a kid.

   10  CAPTION:      A... [Bold Ital.] kid...

(More)

4              FLASHBACK: ROUNDED PANEL CORNERS; MUTED OR SEPIA TONES:

                FROM ISSUE #54 PAGE 11:

 

                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.

   11  CAPTION:      [Ital.}  ...kids...

   12  CAPTION:      ...Dick Freaking Tracy...

 

5              RETURN TO PRESENT: EXTERIOR: THE TAXI DRIVING FAST ACROSS THE SAND, HEADING AWAY FROM THE OCEAN, TOWARDS THE CITY STREETS. TIRE TRACKS AND SAND KICKS UP BEHIND THE CAR.

   13  KASPER:       (From car) Hey-- hey-- Hunter-- you monitoring the comm link in my costume? Think I just figured something out.

   14  KASPER:       (Same) Need you to find somebody-- quick-- and call me at this number.

   15  KASPER:       (Same) Listen-- check Sal’s file again...

Page 9

1              CUT TO: CITY STREETS: THE TAXI IS CUT OFF BY A POLICE CAR, THE POLICE CAR BLOCKING THE ROAD, FORCING KASPER TO SLAM ON HIS BRAKES.

 

                JORGE: THIS IS BROOKLYN. THERE ARE NO SKYSCRAPERS. ONLY 3 OR 4-STORY BUILDINGS, MOSTLY OLDER BUILDINGS WITH STOREFRONT SHOPS AT GROUND LEVEL AND APARTMENTS OVERHEAD. TYPICALLY FIRE ESCAPES ON THESE OLDER BUILDINGS.

    1  CAPTION:      Here we go.

 

2              NEW ANGLE: KASPER’S TAXI SWERVES ONTO THE SIDEWALK, KNOCKING OVER PARKING METERS AND OTHER THINGS ON THE SIDEWALK, FURTHER DAMAGING THE TAXI.

    2  CAPTION:      Sal’s boys.

    3  CAPTION:      With real cops on the way.

    4  CAPTION:      Assuming I’m still alive when they get here.

 

3              CUT TO: KASPER INSIDE THE CAR, DRIVING: GRIM, TALKING ON THE PHONE AS HE DRIVES.

    5  KASPER:       Hunter-- they’re moving on me now--  Fort Hamilton and Third.

    6  KASPER:       Hope everybody’s paying attention.

 

4              EXTERIOR OF CAR: NEW ANGLE: AS KASPER’s TAXI  TURNS A CORNER, EXITING THE SIDEWALK, THE TAXI IS RAMMED BY ANOTHER POLICE CAR, CAUSING MAJOR BODY DAMAGE TO BOTH CARS.

    7  CAPTION:      In six minutes, the world changes.

 

5              INSIDE THE TAXI: VIEW FROM THE REAR SEAT: THROUGH THE DIRTY PLASTIC: KASPER HAS TURNED TO LOOK OUT OF THE BACK WINDOW: HE IS NOW DRIVING THE CAR IN REVERSE, ONE HAND ON THE WHEEL, HIS FREE ARM IS DRAPED ACROSS THE SEAT BACK OF THE PASSENGER SEAT AND HE’s TWISTED AROUND, LOOKING BEHIND HIM.

 

                KASPER SNARLS AS HE ORDERS THE GIRL TO GET DOWN.

    8  KASPER:       Get down.

Page 10

1              EXTERIOR:  KASPER’s TAXI, DRIVING IN REVERSE AT A HIGH RATE OF SPEED, RAMS ANOTHER POLICE CAR.

— no copy —

 

2              VIEW OVER KASPER’s SHOULDER: WE SEE OUT THROUGH THE DRIVER’s WINDOW: SEVERAL POLICE SWAT GUYS (IN BODY ARMOR) AIM WEAPONS FROM ACROSS THE STREET. THESE ARE ASSAULT RIFLES.

 

                COLOR: MULTIPLE RED DOTS AND/OR BEAMS FROM LASER SIGHTS ON THESE RIFLES.

— no copy —

 

3              INTERIOR: KASPER DIVES FOR COVER AS GUNFIRE RIPS THROUGH THE TAXI.

— no copy —

 

4              EXTERIOR: SAL ANTHONY WALKS PURPOSEFULLY TOWARDS THE RUINED TAXI. HE IS ESCORTED BY TWO OF HIS CROOKED COPS, ONE ON EACH SIDE OF HIM. THE COPS AIM WEAPONS PURPOSEFULLY AT THE TAXI. SAL DOES NOT.

 

                WE DO NOT NEED TO SEE THE CAR IN THIS SHOT: FOCUS MAINLY ON THE BAD GUYS.

 

                THE COPS ARE WEARING RIOT GEAR (MILITARY-STYLE UTILITY UNIFORMS WITH BODY ARMOR, SEE REF) AND BASEBALL-STYLE CAPS. THE CAPS HAVE THE WORD “POLICE” EMBLAZED ON THEM, AND THE WORDS “NYPD POLICE” ARE WRITTEN IN LARGE BRIGHT LETTERS ON THEIR CHEST AND BACK.

 

                SAL WEARS CASUAL CLOTHES, HIS NYPD LIEUTENANT’s BADGE (SEE REF) CLIPPED TO HIS JACKET IN A CASUAL FASHION.

    1  SAL:          Dammit.

    2  SAL:          What a mess.

    3  SAL:          Call a 10-13, get a bus down here-- fast.[4]

 

5              SAL LOOKS INTO THE RUINED TAXI, TRYING TO SEE IF ANYONE’s STILL ALIVE IN THERE.

    4  SAL:          Cripes, Kasper.

    5  SAL:          Didn’t need to happen...

Page 11

1              NEW ANGLE: KASPER LUNGES OUT OF THE DRIVER’s WINDOW, AIMING HIS PISTOL RIGHT AT SAL’s FACE. SAL’s HANDS GO DEFENSIVE. KASPER SNARLING.

 

                KASPER IS CUT AND BLEEDING BUT IS NOT BADLY INJURED.

    1  KASPER:       My point exactly, Sal.

    2  KASPER:       You coulda left me alone-- left Black Jack alone.

    3  KASPER:       Left Tork alive.

    4  KASPER:       But, see, now we got this.

 

2              ANGLE ON SAL: GRIM, HANDS STILL RAISED TO  SHOULDER HEIGHT. HE’S TRYING TO CONVINCE KASPER TO DO THINGS HIS WAY.

    5  SAL:          Kasp--

    6  SAL:          --you got a dead hooker and about three million in coke in the trunk.

    7  SAL:          Now, how this gets written up is up to you.

    8  SAL:          Hero cop-- crooked cop-- makes no diff to me.

 

3              ON KASPER: HOLDING THE GUN: BLOOD TRICKLES FROM A WOUND ON HIS FOREHEAD. TEETH GRIT, VERY ANGRY.

    9  KASPER:       It did once, Sal.

   10  KASPER:       Before 66 Bridges bought you.

   11  KASPER:       Before they snatched Max.

(More)

4              ON SAL: HANDS STILL RAISED: HIS EXPRESSION HAS CHANGED: KASPER HAS UNNERVED HIM. JORGE: BE SUBTLE WITH THIS EXPRESSION: JUST A LITTLE FEAR IN SAL’s EYES, NOW. HE REALIZES KASPER KNOWS HIS SECRET.

— no copy —

 

5              STAT/REPEAT PANEL.

   12  CAPTION:      There it is.

   13  CAPTION:      The look.

   14  CAPTION:      The crack in the wall--

   15  VOICE:        (Off) Unwise.

Page 12

1              NEW ANGLE: SUDDENLY: T’CHALLA IS THERE, STANDING NEXT TO OR ON THE SIDE OF SAL. T’CHALLA PUSHING FORWARD, JABBING AN ACCUSING FINGER AT KASPER.

 

                KASPER CONTINUES TO HOLD HIS GUN ON SAL WHILE THE COPS HOLD THEIR GUNS ON KASPER.

 

                T’CHALLA IS STILL DISHEVELED: OLD, RATTY CLOTHES, UNSHAVEN, HIS HAIR UNCOMBED. ANGRY.

    1  COPS:         (Various)  Huh--?! Where’d he come from--?! Hey-- mister back off--!!

    2  T’CHALLA:     You are a very foolish child.

    3  T’CHALLA:     Reckless. Immature.

 

2              IN CLOSER: THE THREE MEN: SAL, T’CHALLA, KASPER. SAL’s EYES AVERTED NOW, LOOKING AT T’CHALLA (BUT NOT TURNING HIS HEAD).

    4  SAL:          Who are you-- Internal Affairs--?

    5  T’CHALLA:     No. I am king of a small African nation.

    6  T’CHALLA:     You and your men are in grave danger, Lieutenant.

    7  T’CHALLA:     Thanks to this foolish boy.

 

3              RE-ESTABLISH THE AREA: SAL’s MEN HAVE SURROUNDED THE CAR, AIMING GUNS. T’CHALLA TALKING TO SAL, KASPER HOLDING HIS GUN ON SAL.

    8  T’CHALLA:     You and your men are surrounded by factions of the Hatut Zeraze tribe. These men are disciplined assassins.

    9  T’CHALLA:     They will strike without mercy or remorse.

(More)

4              JORGE: REPEAT THE PREVIOUS SHOT, ONLY NOW, WE SEE AS MANY MEMBERS OF THE HATUT ZERAZE AS YOU CAN IMAGINE: DOZENS OF THEM, ALL AIMING ASSAULT RIFLES AND OTHER HIGH-POWERED CONVENTIONAL WEAPONS.

 

                THEY SIMPLY APPEAR (THESE MEN USE CLOAKING DEVICES THAT RENDER THEM INVISIBLE).

 

                T’CHALLA, KASPER, AND SAL’s MEN HAVE NOT MOVED FROM PREVIOUS PANEL.

   10  T’CHALLA:     I suggest you order your men to safety their weapons and lay them on the ground.

   11  T’CHALLA:     Resist, and you will all die.

 

5              NEW ANGLE: T’CHALLA NOW MOVES TOWARDS THE REAR OF THE GYPSY CAB. SAL AND KASPER MOVE WITH HIM.

               

                ONE OF SAL’s MEN, A POLICEMAN IN RIOT GEAR, SNEERING AS HE AIMS HIS ASSAULT RIFLE AT KASPER, KASPER CONTINUING TO HOLD HIS GUN ON SAL AS HE UNCEREMONIOUSLY DRAGS SAL ALONG.

   12  COP:          Him first.

   13  T’CHALLA:     The woman in the back seat is a U.S. Marshal.

   14  T’CHALLA:     Office Cole has put reinforced plating  throughout this vehicle. She is unharmed.

   15  T’CHALLA:     Two dozen other marshals await you at Grand Army Plaza. And, in the trunk--

Page 13

1              NEW ANGLE: T’CHALLA’s GOT THE TRUNK OF THE CAR OPEN: INSIDE THE TRUNK: A HELICOPTER PILOT. A YOUNG WHITE MAN WEARING A FLIGHT SUIT (1-PIECE, ZIPPER RUNS FROM HIS NECK TO HIS CROTCH, CARGO POCKETS, ETC.).

 

                THE PILOT’s ARMS HAVE BEEN BOUND AND HIS MOUTH IS COVERED IN DUCT TAPE. HE LOOKS TERRIFIED.

 

                JORGE: DEPENDING ON HOW YOU DESIGNED THIS SCENE, KASPER AND SAL MAY HAVE TO MOVE TO THE REAR OF THE CAR IN ORDER FOR SAL TO SEE INSIDE THE TRUNK.

 

                WE CAN ASSUME THEY MOVED DURING THE PAGE TURN. PLEASE HAVE THEM THERE, POSITION IN SOME WAY ON THE SIDE OR BACK OF THE CAR, SO SAL CAN ACTUALLY SEE THE PILOT.

 

                KASPER KEEPS HIS GUN PRESSED AGAINST SAL’s NECK.

    1  T’CHALLA:     --the pilot of the Black Hawk helicopter Triage used to try to kill me.

    2  SAL:          Kill you--  you--?!?

    3  SAL:          Wait-- are you saying you-- you’re--?

 

2              MEDIUM CLOSE UP: THE BLACK PANTHER. THE ORIGINAL BLACK PANTHER. SNARLING. T’CHALLA SUDDENLY IN COSTUME.  THE BACK OF HIS HAND RAISED NEAR HIS FACE, HIS FINGERS CRADLING, FORMING A MENACING GRASPING CLAW, HIS ANTI-METAL CLAWS IN FULL VIEW, LIGHT GLINTING OFF OF THEM.

    4  PANTHER:      --very annoyed.

    

3              EXACT SAME SHOT: EXACT SAME POSE: ONLY NOW THE COSTUME IS GONE. IT’S JUST T’CHALLA, AS BEFORE, BUT SNARLING, HAND IN SAME POSITION.

    5  T’CHALLA:     I leave you all to your foolishness.

    6  VOICE:        (Off) You ain’t goin’ nowhere you son of--

(More)

4              NEW ANGLE: THE SCENE:  T’CHALLA IS GONE. KASPER HOLDS HIS GUN  ON SAL.

                SAL’s COPS HOLD THEIR GUNS ON KASPER.

                THE HATUT ZERAZE HOLD THEIR GUNS ON SAL’s COPS.

    7  COP:          --?!? How’d he--?!

    8  KASPER:       What’s it gonna be, Sal--?

    9  KASPER:       There’ll be 200 cops in the street in 30 seconds--

 

5              IN CLOSE ON KASPER: SNARL.

   10  KASPER:       --what say we take a ride.

Page 14

                CHAPTER HEADING

    1  TITLE:        Absolution

 

1              CITY STREETS: KASPER’s BORROWED GYPSY CAB RACES THROUGH THE STREETS.

    2  CAPTION:      The girl in the back is just a girl.

    3  CAPTION:      The guy in the pilot suit is a taxi driver.

    4  CAPTION:      Gave him my last fifty bucks for a frat party joke.

 

2              INSIDE THE CAR: SAL DRIVES, KASPER’s PISTOL PRESSED AGAINST HIS NECK.

    5  CAPTION:      Course, the joke’s on him, now.

    6  CAPTION:      Amazing stuff, that duct tape...

    7  SAL:          You’re a dead man, Kasper.

    8  SAL:          In way over your head.

 

3              ON KASPER: GRIM. GONNA TAKE THIS SHIT ALL THE WAY.

    9  KASPER:       He’s got Max. He’s got your son.

   10  KASPER:       In the file-- you’ve got two kids-- but now, only one-- a girl.

   11  KASPER:       No funeral. No hospital records.

   12  KASPER:       Max is just gone--

(More)

4              EXTERIOR: THE GYPSY CAB  RACES THROUGH CITY STREETS. POLICE CARS PURSUING THE GYPSY CAB.

   13  KASPER:       (From taxi) --right around the time you started tricking for 66 Bridges.

   14  KASPER:       (Attach) This started out as, what, fixing a few tickets-- looking the other way for some petty crap--

 

5              INSIDE THE TAXI: SAL AND KASPER, AS BEFORE.

   15  KASPER:       --but he wanted more. He wanted to own you. He wanted to completely trust you--

   16  KASPER:       --so he stole your son and put a bullet in your daughter’s spine--

   17  KASPER:       --putting her in a wheelchair.

 

6              AERIAL VIEW: A PAIR OF HELICOPTERS FROM LOCAL NEWS STATIONS BANK AROUND DRAMATICALLY, SHINING BRIGHT LIGHTS, JOINING THE CHASE.

 

                JORGE: I WILL PROVIDE REFERENCE FOR LOCAL NEWS STATIONS IN NEW YORK.

   18  KASPER:       (Off) NYPD Lieutenant pulls down 60 maybe 70 grand with overtime.

   19  KASPER:       (Attach) Your daughter’s therapy costs you, what, two and a quarter? And insurance won’t cover it--

   20  KASPER:       (Off) --because you never reported it. ‘Cause if you did, the Rat Squad would be all over you.

Page 15

1              VIEW THROUGH THE WINDSHIELD: SAL DRIVING, KASPER PRESSING THE GUN PAINFULLY INTO HIS NECK.

    1  KASPER:       Well, genius, they’re all over you anyhow.

    2  KASPER:       And you belong to him--

    3  KASPER:       --Kibuka. Head of the 66 Bridges gang.

    4  KASPER:       I want a name.

    5  SFX:          BLEEP-- BLEEP-- BLEEP--

 

2              ANGLE ON SAL, SNARLING, HIS HEAD LEANING TO THE SIDE JUST A BIT (FORM THE PRESSURE OF KASPER’s GUN AGAINST HIS NECK).

    6  SAL:          I don’t know.

    7  KASPER:       (Off) You’re a liar.

    8  SAL:          Nobody knows, Kasper.

    9  SAL:          Triage tries to act like the guy doesn’t even exist.

   10  KASPER:       (Off) He does exist--

   11  SFX:          BLEEP-- BLEEP-- BLEEP--

 

3              THE GYPSY CAB: STILL RACING ACROSS TOWN, RUNNING THROUGH INTERSECTIONS, BARELY AVOIDING COLLISIONS: WHATEVER WORKS.

 

                THE POLICE PURSUE. THEY HAVE NOT SET UP ROADBLOCKS BECAUSE OF THE POSSIBLE HOSTAGE SITUATION.

 

                IN B/G, IN THE SKY, SEVERAL NEWS HELICOPTERS HAVE JOINED THE PURSUIT NOW. THE GYPSY CAB IS ILLUMINATED BY BRIGHT LIGHT FROM THESE HELICOPTERS, GIVING THE CAR AN UNEARTHLY, ALMOST MAGICAL GLOW AND LUMINESCENCE..

 

                JORGE: THE GYPSY CAB IS RACING TOWARDS OR THROUGH CADMAN PLAZA, IN BROOKLYN. THIS IS A VERY OLD PART OF TOWN, AND THERE ARE SEVERAL HIGHWAY OVERPASSES THAT CAST HUGE, LOOMING SHADOWS ALL OVER THE PLACE.

 

                THE HELICOPTERS WOULD LIKELY HAVE TO FLY UP OVER THESE HIGHWAY OVERPASSES. THE OVERPASSES ARE MADE OF STONE WITH ARCHWAYS BENEATH THEM FOR TRAFFIC TO PASS BELOW.

   12  KASPER:       (From car) --and you’re gonna help me put a name on him.

   13  KASPER:       (Attach) See-- I bust you-- I’m through as a cop.

   14  KASPER:       (Attach) So, maybe I let it go. Tomorrow, we go back to work, we’re still cops. We do the job.

   15  KASPER:       (Attach) Only, from now on--

   16  SFX:          BLEEP-- BLEEP-- BLEEP--

 

4              ANGLE ON KASPER: THREATENING.

                THE CAR INTERIOR IS NOW BRIGHTLY OVERLIT, JORGE, AS THOUGH A 1,000-WATT LIGHT BULB WERE INSIDE THE CAR.

 

                COLOR: VERY HIGH CONTRAST AND DESATURATE THE COLOR: THE SCENE BECOMING ALMOST BLACK & WHITE.

   17  KASPER:       --I’m your uncle.

   18  KASPER:       You killed my sergeant. You, therefore, are going to take Tork’s place.

   19  KASPER:       You are going to help Panther bring Kibuka down.

   20  SAL:          Yeah?  And, what’s my end?

   21  SFX:          BLEEP-- BLEEP-- BLEEP--

 

5              SAME: ONLY NOW, KASPER HOLDS UP HIS CELL PHONE WITH HIS FREE HAND. HE IS DISPLAYING THE CELL PHONE, AS THOUGH HE WERE A SALES PERSON. SAME EXPRESSION AS PREVIOUS.

   22  KASPER:       Max.

   23  SFX:          BLEEP-- BLEEP-- BLEEP--

(More)

6              FLASHBACK: THE PHOTOS FROM PAGE 8:

                IN CLOSE ON THE COMMUNION PHOTO: 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.

   24  KASPER:       (Off) Your son.

   25  SFX:          BLEEP-- BLEEP-- BLEEP--

 

7              RETURN TO PRESENT: STAT/REPEAT PREVIOUS IMAGE OF KASPER, HOLDING THE GUN AND THE PHONE.

   26  KASPER:       Go on-- take it.

   27  KASPER:       It’s for you.

   28  SFX:          BLEEP-- BLEEP-- BLEEP--

Page 16

1              (BIG PANEL) THE GYPSY CAB RACES TOWARD THE WATERFRONT. THIS IS NEAR CADMAN PLAZA, SOMEWHERE IN THE VICINITY OF THE BROOKLYN BRIDGE/WASHINGTON HEIGHTS AREA. I WILL TRY AND FIND REFERENCE.

 

                THE BRIDGE ITSELF SHOULD VERY LIKELY BE IN THE EXTREME FOREGROUND, IN OTHER WORDS, THE CHASE LEADS UNDER THE BRIDGE ITSELF, TOWARDS THE WATER’s EDGE.

 

                THE GYPSY CAB IS NOW PURSUED BY AN ENORMOUS GROUP OF POLICE CARS AND SEVERAL NEWS HELICOPTERS.

 

                COLOR: FAIRY TALE COLORS HERE: LIGHT SNOW, THE GYPSY CAB GLOWS FROM THE BRIGHT SPOTLIGHTS FOCUSED ON IT BY THE NEWS HELICOPTERS, LENDING THE GYPSY CAB A MAGICAL GLOW. MULTIPLE STROBE AND POLICE LIGHTS FROM THE PURSUING CARS.

    1  SAL:          (From cab) You’re bluffing.

    2  CAPTION:      I’m gambling.

    3  CAPTION:      Might be Delay. Might be Panther.

    4  CAPTION:      Might be Hunter calling to tell me he didn’t find Sal’s kid.

 

2              A MUNICIPAL PIER: PEDESTRIANS DIVE OUT OF THE WAY AS THE GYPSY CAB BREAKS THROUGH BARRIERS AND/OR DESTROYS PARK BENCHES AS IT RACES TOWARDS THE WATERFRONT.

 

                THERE SHOULD BE AN IRON RAILING ALL ALONG THE EDGE OF THE PIER.

    5  CAPTION:      Might be Pizza Hut.

    6  CAPTION:      Or, it might be what I need most-- in my pocket--

    7  CAPTION:      --just the smallest fraction of Sal’s soul.

 

3              CUT TO: INSIDE THE CAR: KASPER STILL PRESSING THE GUN HARD AGAINST SAL’s NECK: SAL THROWS THE CELL PHONE OUT OF THE WINDOW. HE IS REFUSING TO ANSWER THE CALL.

    8  KASPER:       Help me find Kibuka. I get you your boy back. You take early retirement.

    9  KASPER:       There’s the peace.

   10  SAL:          Screw you, Cole.

   11  KASPER:       Way wrong answer.

 

4              CLOSER ON KASPER: MAKING HIS CASE.

   12  KASPER:       Way I see it-- no matter what happens here tonight, I’m not a cop anymore.

   13  KASPER:       If I’m not a cop anymore, I have no reason to not put your brains all over that windshield.

   14  KASPER:       You really want me to be a cop, Sal. You need me to be a cop.

 

5              EXTERIOR: THE CAR, RACING ACROSS THE PIER..

   15  KASPER:       (From car) See, I’m takin’ this spit all the way, here.

   16  KASPER:       (Attach) If I don’t, I end up like you.

   17  KASPER:       (Attach) And I’ll be damned if I let that happen.

   18  SAL:          (Separate balloon from car) You’ll never see that gold shield if you burn me, Kasper.

 

6              KASPER TAKES HIS PISTOL OFF OF SAL, THE GUN NOW IN AN UPWARD REST POSITION (THE BARREL POINTED UP). KASPER SNARLING AT SAL AS SAL DRIVES.

   19  KASPER:       I don’t have to burn you, Sal-- you burned yourself.

   20  KASPER:       You are a lowlife piece of dirt. But, I believe you can come back.

   21  KASPER:       I believe you want to find your way back.

   22  KASPER:       In fact--

Page 17

1              THROUGH THE WINDSHIELD: THE TWO MEN: KASPER NOW PRESSES THE BARREL OF THE GUN AGAINST HIS OWN TEMPLE: HE’S ABOUT TO KILL HIMSELF.

 

                SAL REACTS BIG, INSTINCTIVELY REACHING FOR KASPER, TRYING TO STOP HIM.

 

                COLOR: COMPLETELY DE-SATURATE THE IMAGE: WE’RE INTO BLACK AND WHITE TONES NOW: THIS FROM THE VERY BRIGHT LIGHT FOCUSED ON THE CAR.

    1  KASPER:       --I’m betting my life on it.

    2  SAL:          --?!?  What-- what the hell is that--?!

    3  KASPER:       Nobody’ll ever believe you didn’t try to kill me, Sal.

    4  SAL:          (Burst) WHAT--?!?

 

2              CLOSER ON KASPER: GRIM, HIS OWN GUN PRESSED AGAINST HIS TEMPLE.

    5  KASPER:       Crooked cop silences rookie narcotics officer.

    6  KASPER:       [Bold Ital.] Hero cops injured in multi-million dollar drug bust.

    7  KASPER:       How you wanna write [Bold Ital.] this up--?

    8  SAL:          (Burst, Off) KASPER- NO-- DON’T--!!!

 

3              (BIG PANEL) CUT TO: EXTERIOR OF CAR: THE GYPSY CAB SMASHES THROUGH THE RAILING AT THE EDGE OF THE PIER, SAILING OUT OVER THE EAST RIVER. MAJOR DAMAGE TO THE CAR.

 

                JORGE: MAKE A BIG DEAL OUT OF THIS. THIS IS THE MAJOR MOMENT.

 

                COLOR:  VERY BRIGHT LIGHT FOCUSED ON THE CAR, MAKING IT GLOW, AS THOUGH GOD HIMSELF WERE LOOKING DOWN ON THIS CAR.

    9  SFX:          (Big) BLAAAMM.

 

4              SMALLER PANEL: DOWN ANGLE: THE CAR PLOWS INTO THE RIVER.

— no copy —

Page 18

                CHAPTER HEADING

    1  TITLE:        Headaches

 

1              DETAIL: A NEWSPAPER IN KASPER’s HAND: IN HIS FREE HAND, HE IS HOLDING A MICRO-CASSETTE RECORDER. SLEEK, HIGH-TECH DICTATION DEVICE.

 

                THE PHOTO ON THE NEWSPAPER: SCRUGGS AND SEVERAL OTHER OF SAL’s CREW ARE LED OFF IN HANDCUFFS. SAL IS NOT IN THIS PHOTO.

 

                COLOR: IT IS DAY. LIGHT SNOW FLURRIES.

    2  HEADLINE:     CROOKED COPS BUSTED

    3  SUB-LINE:     SCANDAL HITS THE 74TH PRECINCT. COMMANDER DISCIPLINED.

    4  TEXT:         (Mainly decorative) The ring, allegedly

                     led by Det. Bernard Scruggs, involved at least six other officers in narcotics traffic, extortion and money laundering. The corrupt cell is alleged to have ties to the notorious 66 Bridges Gang... [Greek in filler copy]

    5  KASPER:       (Off) Of course, I didn’t realize that even gel bullets, fired point blank, can kill you--

 

2              ESTABLISH: KASPER COLE SITS ON A PARK BENCH. WE WILL SHORTLY SEE THIS IS THE VISITING AREA AT THE PRISON AT OSSINING, BUT WE DO NOT NEED TO SEE THAT, HERE.

 

                IT SHOULD APPEAR, HERE, THAT KASPER IS MERELY SITTING IN A PARK.

 

                KASPER WEARS TYPICAL URBAN STREET CLOTHES, A HEAVY JACKET (NOT HIS BLACK PANTHER COAT).  HE TALKS INTO HIS DICTATION DEVICE.

 

                KASPER’s HEAD IS WRAPPED IN STERILE HOSPITAL BANDAGES, AS THOUGH HE HAD A HEAD INJURY.

 

                KASPER’s BADGE HANGS AROUND HIS NECK FROM A BEADED CHAIN. HIS BADGE NUMBER IS 62783

    6  KASPER:       --live and learn, I guess.

    7  KASPER:       Got so messy Delay had to move in before he was ready.

    8  KASPER:       Bagged everybody but Sal--

    9  KASPER:       --Sergeant Sal. Demoted to my new narcotics supervisor.

 

3              IN CLOSE ON KASPER. GRIM.

   10  KASPER:       Sal thinks I can get him his son back.

   11  KASPER:       Long as he thinks that, I’ve got a play.

   12  KASPER:       Long as I got a play, my family has hope--

   13  VOICE:        (Off, other direction) You are reckless and dangerous-- a threat to everyone around you--

 

4              NEW ANGLE: T’CHALLA NOW STANDS BEFORE KASPER.

                JORGE: T’CHALLA IS NOW FULLY RESTORED TO HIS NORMAL APPEARANCE: BALD HEAD, EXPENSIVE ARMANI SUIT, LONG BLACK TRENCH COAT OVER THE SUIT. VERY HIP BLACK SUNGLASSES (SEE SAL VELLUTO’s RENDERING OF T’CHALLA’s SUNGLASSES).

 

                THIS IS THE T’CHALLA WE ARE USED TO SEEING. HE IS FULLY RESTORED TO HIS MYSTIQUE AND MENACE.

   14  KASPER:       I know the voice-- but where are the pajamas--?

   15  T’CHALLA:     The path you have set yourself upon poses a threat to everyone around you.

   16  T’CHALLA:     You are both foolish and unwise.

   17  KASPER:       You act like I have some choice.

(More)

5              MEDIUM CLOSE-UP: T’CHALLA: GRIM. NOT ANGRY, JUST REALLY GRIM.

                HE LOOKS TERRIFIC: FULLY RESTORED TO HIS FORMER SELF.

   18  T’CHALLA:     You do.

   19  T’CHALLA:     The Wakandan consulate will finance relocating you and your family.

   20  KASPER:       (Off) --and, what, hide the rest of my life? Is that what you’d do?

   21  T’CHALLA:     I would not be in your situation to begin with.

 

6              ON KASPER; HE TURNS TOWARDS US, SMILING, HANDING US A PHOTOGRAPH.

   22  KASPER:       That’s right. You’re Wakandan. You’re better than us regular Negroes.

   23  KASPER:       Have a look at the reason I won’t be going into hiding.

   24  KASPER:       He’s the guy I’ve been talking to

                     all along--

Page 19

1              DETAIL: T’CHALLA’s HAND HOLDING THE PHOTO: IT IS AN IMAGE OF A SONOGRAM: AN IMAGE OF KASPER’s UNBORN SON.

    1  KASPER:       (Off) --my son.

    2  KASPER:       (Same) Just like I’m somebody’s son-- and you’re somebody’s son.

    3  KASPER:       (Off) Great men to whom we owe it not to go into friggin’ hiding.

 

2              ON T’CHALLA: STILL HOLDING THE PHOTO, BUT NOW GLARING AT THE OFF-PANEL KASPER.

    4  KASPER:       (Off) And Sgt. Tork-- your friend-- we let them win, what’d he die for?

    5  KASPER:       (Attach) Why’d you help me convince Sal’s people the girl was a federal agent--

    6  KASPER:       --and the taxi driver a CIA pilot--?

    7  T’CHALLA:     Had I not intervened, you would be dead.

 

3              ON KASPER: WINCING, RUBBING THE SIDE OF HIS HEAD. HE’S TIRED AND HIS HEAD HURTS.

    8  KASPER:       Like you care.

    9  KASPER:       I hear you Wakandans are sort of like Klingons-- big on all of that “honor” crap.

   10  KASPER:       Well, honor your friend, Panther-- honor his sacrifice. Either help me--

   11  KASPER:       --or get out of my way.

(More)

4              ON T’CHALLA: GRIM: THINKING IT OVER.

— no copy —

 

5              STAT/REPEAT IMAGE OF T’CHALLA.

   12  VOICE:        (Off) I hear news.

   13  VOICE:        (Attach) There is not much I like about

                     it.

 

6              RE-ESTABLISH THE AREA: BLACK JACK, IN WHEELCHAIR, ARRIVING. HE PROPELS HIMSELF, USING HIS MASSIVE HANDS ON THE OVERSIZED WHEELS.

 

                KASPER REMAINS SEATED ON THE PARK BENCH.

 

                T’CHALLA, INEXPLICABLY, IS GONE. BLACK JACK HAS NOT SEEN HIM.

 

                JORGE: NOW WE REALIZE THIS IS  A PRISON YARD. BLACK JACK WEARS A JACKET OVER HIS ORANGE JUMPSUIT.

 

                COLOR: PRISON JUMPSUITS ARE ORANGE, THE JACKET IS LIKELY DENIM BLUE.

   14  KASPER:       Hiya, Pop.

   15  BLACK JACK:  Two reports: one in paper say crooked cops busted-- Lew demoted to sergeant.

   16  JACK:         One not in paper--

Page 20

1              MEDIUM: BLACK JACK IN THE WHEELCHAIR. GRIM.

    1  JACK:         --say you crew up with Sal Anthony.

    2  JACK:         So, tell an old man what, Kasper-- you I.A.B., now?

    3  KASPER:       (Off) No, pop.

    4  JACK:         Working wid the Feds, yes?

 

2              ON KASPER: LOOKING AT THE DETECTIVE’s BADGE IN HIS HAND. KASPER HAS PUT HIS TAPE RECORDER AWAY.

    5  KASPER:       I’m trying to be a good cop. A good son.

    6  KASPER:       It ain’t easy, Pop--

 

3              SUDDENLY: BLACK JACK’s GRABBED KASPER BY HIS SHIRT, BLACK JACK’s FREE HAND BALLED INTO A FIST, READY TO SMASH KASPER.

 

                JORGE: BLACK JACK ATTACKS KASPER WHILE STILL SEATED IN HIS WHEELCHAIR. EVEN IN THE CHAIR, HE IS A MASSIVELY POWERFUL MAN.

— no copy —

 

4              FOLLOW THROUGH: BLACK JACK SMASHES KASPER WITH HIS MASSIVE FIST, SENDING KASPER FLYING BACK, KASPER LOSES HIS GRIP ON HIS DETECTIVE’s BADGE.

— no copy —

 

5              ANGLE ON BLACK JACK, A FIST BALLED, SNARLING.

    7  BLACK JACK:  Crew up with Sal, you become like Sal.[5]

    8  JACK:         You become like Sal--

    9  JACK:         --you no son to me.

Page 21

1              OVERHEAD ANGLE: BLACK JACK EXITS, WHEELING OFF IN HIS WHEEL CHAIR: KASPER PICKING HIMSELF UP OFF OF THE GROUND, RUBBING HIS CHIN.

    1  CAPTION:      Can’t tell you, Pop.

    2  CAPTION:      They tried to kill you once. I won’t risk that again.

 

2              DETAIL: KASPER’s NEW DETECTIVE BADGE: STANDING ON ITS RIM (ON ITS SIDE) IN THE SNOW. KASPER’s HAND REACHES IN FOR IT.

    3  CAPTION:      Give me a month-- two, tops--

    4  CAPTION:      --this’ll all be over.

    5  CAPTION:      Soon as I get a name...

 

3              CUT TO: INSIDE THE PRISON COMPOUND: ANGLE ON THE DOOR TO THE OUTSIDE: BLACK JACK WHEELS HIMSELF INTO THIS BUILDING, MOVING TOWARDS US. THE DAYLIGHT IS BEHIND HIM, CASTING HIM IN OMINOUS SHADOW.

    6  CAPTION:      ...of the man responsible for all of this.

    7  CAPTION:      Yeah, life for all of us gets better--

 

4              NEW ANGLE: BLACK JACK GETS OUT OF THE WHEELCHAIR. A PRISON GUARD STANDS BY, HOLDING A CUP OF COFFEE AND A PALM PILOT (A SMALL ELECTRONIC PAD; I CAN PROVIDE REF).

    8  CAPTION:      --the second I find out who Kibuka is...

 

5              DETAIL: BLACK JACK’s HAND: HE HOLDS THE PALM PILOT DEVICE IN HIS HAND. THERE IS A MESSAGE ON THE SCREEN.

    9  MESSAGE:      Wasuze otya nno? Something weird going on with our friends. [6]

(More)

6              LONG SHOT: BLACK JACK WALKS AWAY FROM US, SIPPING COFFEE WHILE READING THE PALM PILOT DEVICE.

   10  CAPTION:      (This is the message from the Palm Pilot)

                     I might need to make new friends.

Page 22

1              DETAIL: A COMPUTER SCREEN: THIS IS THE MONITOR ON TRIAGE’s DESK IN HIS OFFICE.

    1  ON SCREEN:    WE UNDERSTAND.

                     WE WILL SEEK A FULLER UNDERSTANDING OF THESE MATTERS.

 

2              NEW ANGLE: TRIAGE AT HIS DESK: EXPENSIVE SUIT. REMEMBER TRIAGE DOES NOT WEAR NECK TIES, BUT PREFERS STYLISH DRESS SHIRTS WITH BANDED COLLARS (THESE SHIRTS ARE NOT DESIGNED FOR NECK TIES).[7]

    2  CAPTION:      (This is message text) Yeah, Pop. Me too.

    3  CAPTION:      Watch your back.

    4  MESSAGE:      (This is BJ’s reply) Tunaalabagana.

 

                CHAPTER HEADING ACROSS PAGE

    5  TITLE:        Now Hear This

 

3              IN CLOSE: KASPER HAS LAID HIS HEAD DOWN ON GWEN’s BARE STOMACH. WE DO NOT NEED TO SEE GWEN’s FACE, HERE: KASPER IS LISTENING  TO HIS SON.

    6  KASPER:       Now hear this, now hear this:

    7  KASPER:       Remember... daddy is your friend. Mommy? [Ital.] Looooo-ser...

    8  GWEN:         (Off) Oh, yeah, right.

    9  GWEN:         (Attach) The pot said to the kettle.

 

4              ESTABLISH: KASPER’s BEDROOM: HE LIES IN BED WITH GWEN. GWEN REACHES OVER KASPER, AIMING THE REMOTE CONTROL AT THE TELEVISION WHILE GIGGLING. SHE IS IN A GOOD MOOD.

 

                GWEN IS WEARING A LONG FOOTBALL JERSEY AND PANTIES. KASPER HAS PUSHED THE JERSEY (SHIRT) UP OVER HER BARE STOMACH. HE LIES ACROSS HER LAP SO WE DO NOT SEE HER PANTIES. KASPER CONTINUING TO LISTEN TO HIS SON.

   10  GWEN:         This poor kid-- half Korean, quarter black, quarter Jewish--

   11  KASPER:       The good quarter.

   12  KASPER:       We’ll serve Bulgogi and ribs at his bar mitzvah.[8]

 

5              OVER KASPER’s SHOULDER: GWEN SMILES AT HIM WHILE RUNNING A HAND OVER KASPER’s BANDAGES (KASPER’s HEAD IS STILL BANDAGED).

   13  GWEN:         --Kasper--

   14  KASPER:       Officer Cole, to you.

   15  GWEN:         --promise me we’ll be all right.

   16  KASPER:       Absotively. Posolutely.

 

6              CUT TO: DOWN ANGLE: AND EXTERIOR SHOT OF KASPER’s APARTMENT. AN AVERAGE DAY, PEOPLE GOING ABOUT THEIR BUSINESS. ALL IS WELL.

 

                FOR NOW...

   17  KASPER:       (From apartment) Give me a couple of months, Gwen--

   18  KASPER:       (Same) --and the world is ours...

   19  CAPTION:      NEXT: ASCENSION

                     Panther Meets World...

 

— 30 —