[Dean's World] Kevin D.: Storytelling
notify at powerblogs.com
notify at powerblogs.com
Thu Jun 7 12:41:53 EDT 2007
Posted by Kevin D.:
Storytelling
http://www.deanesmay.com/posts/1181234249.shtml
It occurs to me that I've been calling myself a writer when I am not.
Yes, I engage in the act and practice the craft of writing but I am
not a writer. I'm a storyteller. The drive to tell stories is far more
powerful than the drive to write. I think that's why I don't put so
much on the front page any longer (that and I just discovered I adhere
to the editorial guidelines without knowing it).
I'd much rather spend my time working on a story than writing a piece
on religion, politics, entertainment, or whatever else. Those things
interest me but they're not necessarily my passion. Take pen and paper
away from me and I'll still tell a story. I suppose that's why I like
running paper-and-pencil RPG's so much. The desire to create an
engaging tale is intoxicating.
And a huge pain in the arse.
If you don't have that drive to tell stories it's hard to describe the
pain associated with creating them.
Why am I telling you this? Well, for me, to write and story and not
show it to anyone is a gross sin. So, I want to show you a story.
I originally began work on it as means to gain employment with Marvel
Comics. I love comic books and writing them, I think, would be a
blast. Problem is, without writing credits to your name, it's nigh
impossible to pry open those armored gate of the industry. Your best
bet, I've been told, is to take a character no one has done anything
with in a very long time and do something with them. Back when I was
working at Comcast I was struggling with finding someone. Then Dean
suggested 3-D Man. Haven't heard of him? Neither did I at the time.
There isn't much to the guy and he's been absent from Marvel Comics
for almost 30 years.
Having my character now I began work on writing a three-issue story
about this bloke. Being very much a product of his time I felt I
needed to re-imagine the character altogether.
A number of years passed (did I mention that I'm a procrastinator?). I
finished the first issue and began work on the second. Mid-way through
I sent off a letter of inquiry to Marvel Comics. I never heard back.
Dean put me into contact with the wonderful Willow, a regular
commenter at this place, for assistance. She told me her tale and now
I've decided to give up on Marvel and I've started working on my dream
story for Superman. The story I've always wanted to read and felt the
character always had in him.
I'm not telling you that story. I am, however, going to tell you a
little about my 3-D Man. I hope you like it.
And I hope the formatting doesn't throw anyone off (or that it just
simply holds).
([1]show)
PAGE 1 Panel 1 The sky is brilliant blue and filled with puffy
white clouds. A Cessna Citation X jet cuts a swath across it all.
1 CAP: I LOVE IT UP HERE. NO CALLS, NO COMPLAINING CUSTOMERS.
COMPLETE FREEDOM.
Panel 2 Weâre now in the cockpit of the luxury jet. Charles
Chandler, a handsome man in his late 30âs, is flying alone. Heâs
beaming from under a pair of designer glasses.
2 CAP: THIS IS WHERE I BELONG. GOD MAY NOT HAVE BLESSED ME WITH
WINGS BUT IâVE FOUND WAYS AROUND THAT.
3 SFX: BEEPBEEPBEEP BEEPBEEPBEEP
Panel 3 Tight on a phone to Charlesâ left ringing.
4 CAP: I THOUGHT I MENTIONED SOMETHING ABOUT NO CALLS.
5 SFX: BEEPBEEPBEEP
6 CHARLES (OP): HANDS FREE ANSWERâ¦
Panel 4 Charles is gazing out a side window. Heâs a little annoyed
to be bothered.
7 CHARLES: SOMEONE HAD BETTER BE DEAD. WHAT IS IT?
8 PHONE VOICE: IâM SORRY TO BOTHER YOU, SIR, BUT ITâS THE
CHARMICHAEL ACCOUNT. JENKINS COULDNâT KEEP THEM INTERESTED. UNLESS
YOUâRE IN TOKYO BY THIS EVENING THEYâRE GOING TO PULL OUT.
9 CHARLES: YOU HAVE TO BE KIDDING ME! I SOFT PITCHED THAT THING TO
JENKINS AND HE DROPPED IT!?
PAGE 2 Panel 1 Charles is trying to gather his thoughts and keep
his cool by rubbing the bridge of his nose. Sunlight reflects
harshly off the shiny metal holding the cockpit windows in place.
1 PHONE VOICE: IF IT MAKES THINGS ANY BETTER HE FEELS REALLY BAD.
2 PHONE VOICE: REALLY REALLY BAD.
3 PHONE VOICE: I THINK I SAW HIM KICK A PUPPY.
5 CHARLES: OH, WELL AS LONG AS HE KICKED A PUPPY I GUESS
EVERTHINGâLL BE FINE.
6 PHONE VOICE: MY THOUGHTS EXACTLY, SIR.
Panel 2 Charles lightens up and a small grin comes across his face.
7 CHARLES: OKAY, IâLL GET THIS. I NEED A NEW FLIGHT PLAN REGISTERED
WITHâ
8 PHONE VOICE: ALREADY DONE, SIR. IâVE ALSO LET HNL HONOLULU KNOW
THAT YOUâLL BE LANDING IN TWO HOURS FOR REFUELING.
9 PHONE VOICE: YOUâLL HAVE A CAR WAITING FOR YOU IN NARITA TO TAKE
YOU TO YOUR MEETING.
10 CHARLES: IâLL ALSO NEEDâ
Panel 3 Charles is looking at the phone now with an eyebrow raised
and a wide smile.
11 PHONE VOICE: A CHANGE OF CLOTHES WILL BE IN THE CAR.
12 CHARLES: WHAT WOULD I DO WITHOUT YOU?
13 PHONE VOICE: GO OUT OF BUSINESS. HAVE A GOOD FLIGHT, SIR.
14 SFX: CLICK
Panel 4 Charles looks out into the vast stunning sky before him,
radio in hand. This may not be such a bad thing after all.
15 CAP: A TRIP ACROSS THE PACIFIC DOESNâT SOUND LIKE TOO BAD AN
IDEA UPON REFLECTION.
16 CHARLES: LAX TOWER THIS IS WHISKY-TANGO- ECHO-ZERO-TWO-THREE
COME IN, OVER.
17 SFX (from radio): FZZZZCHIK
Panel 5 Charles reaches out to a control panel and adjusts the
frequency. His curiosity is piqued.
18 CHARLES: COME IN TOWER. ANYONE THERE, OVER?
19 SFX (from radio): KEHERRRRR
Panel 6 Something outside catches Charlesâ eye. The clouds are
parting suddenly. We see just the edge of the opening from our
vantage.
20 CHARLES: WHAT THE HELL IS THAT?
PAGE 3 Panel 1 The Cessna Citation X looks to be flying right into
an enormous unnatural circular opening in the clouds. A faint
golden glow can just be seen on the other side of the opening.
PAGE 4 Panel 1 Charles is pulling hard left on the flight yoke. His
teeth are clenched and his knuckles are white. The cockpit is
filled with a golden glow. We canât see anything but gold outside.
1 CHARLES: ERRRRGGGGAHHHHH!
Panel 2 The jet is hit with a golden beam of energy and blown
apart.
PAGE 5 Panel 1 Itâs night now. Debris from the jet litters an open
field. Police are everywhere. Curious onlookers are kept at bay in
the distance.
Panel 2 Detective Peters eyes a table filled with small bit of
debris collected by other investigators. Of particular significance
is the pile of Charlesâ clothing and his glasses. Both are in
perfect condition. To Petersâ left is a junior officer.
1 PETERS: IS THIS IT?
2 OFFICER: YEP. JUST THE CLOTHES. NO BODY HAS BEEN FOUND. OR EVEN
PIECES OF ONE. LIKE NOBODY WAS FLYINâ THE PLANE.
3 OFFICER: HEH.
4 PETERS: THIS DOESNâT ADD UP.
Panel 3 Weâre looking at both Peters and the police officer through
the lens of the glasses. Peters is motioning to the table.
5 PETERS: GET THIS JUNK BAGGED UP AND OVER TO THE DOC. TELL HER I
WANT THE WORKS. HE DIDNâT JUST VANISH.
6 OFFICER: GOT IT!
PAGE 6 Panel 1 Wide on the deep inner city of a darker Detroit than
weâre used to seeing. A long straight avenue stretches out before
us littered with trash and beat-up out cars. Decrepit high-rise
after high-rise lines the street on either side. The sky is like
rust. Far in the distance we see shadowy ruins of the automotive
industry. In the foreground is a single African-American boy. No
more than 13. His name is Jason and he doesnât want to be here.
1 CAP (location): DETROIT, MICHIGAN
2 TITLE & CREDITS: 3-D MAN: GENESIS KEVIN DOMBROWSKI â WRITER, ? â
ARTIST, ETC.
3 CAP: I HATE WALKINâ HERE.
PAGE 7 Panel 1 Jason is walking at a brisk pace. Heâs eyeing his
surroundings. We see a few prostitutes, their pimps and a drug
dealer. The latter seems to have noticed Jason.
1 CAP: IT MAKES MY SKIN CRAWL. BAD ENOUGH I GOTTA DEAL WITH THIS
@$#! BACK HOME.
2 DRUG DEALER (yelling): YO, LITTLE MAN! IâM TALKINâ AT YOU!
3 CAP: NOW GOTTA FEND OFF SOME NIGGA THINKINâ IâM FEDEX.
4 JASON: I AINâT GOT TIME. PLACES I GOTTA BE
5 CAP: I HATE WALKINâ HERE.
Panel 2 The drug dealer is on Jason, blocking his path. He towers
over the boy. Jason looks him as if they were on the same level. He
shows no fear. In fact, heâs actually agitated.
6 DRUG DEALER: NIGGA, YOU BETTER MAKE TIME! YOUR MOMS GOT SOME
EXPLAININâ TO DO.
7 JASON: MAN, WHO THE HELL YOU THINK YOU IS COMING UP ON ME LIKE
THIS?
8 DRUG DEALER: @#$% PLEASE, LITTLE MAN. YOUR MOMS OWES ME. IF I
GOTTA TAKE IT OUT OF YOU I WILL.
9 JASON: $#@%, SHE DID YOUR DUMB ASS A FAVOR.
Panel 3 The drug dealer is on Jason now, taking him up to eye level
by his shirt. Heâs right in Jasonâs face. Jason looks like a
dangling helpless puppy but he faces the dealerâs anger with an
equal portion of his own.
10 DRUG DEALER: BITCH, YOU KNOW WHO YOU MOUTHINâ OFF AT?
11 JASON: YEAH, A PUNK TOO STUPID TO KNOW HE SHOULD BE ON HIS DAMN
KNEES THANKINâ MY OLD LADY.
12 JASON: YOUR NAME WAS ALL OVER THAT &*#@. MAYBE NEXT TIME SHE
AINâT GONNA BE SO THOUGHTFUL AND SAVE YOU A DIME IN JACKSON.
Panel 4 Jason is walking down the street now. The drug dealer is
scowling at him in the background. Jason canât help but smile.
13 CAP: THESE NIGGAS DONâT KNOW A BLESSING WHEN THEY SEE IT. SO, I
GOTTA REMIND âEM.
14 CAP: THATâS WHAT MY OLD LADY IS, YOU KNOW, A BLESSING. I AINâT
GONNA LET SOME PUNK BITCH TREAT HER LIKE THAT.
PAGE 8 Panel 1 Jasonâs home is a bit run down but it looks like
someone has taken the effort to do as much as they can with as
little as theyâve got. Jason is on a beat-up couch in the living
room reading a text book under a dim yellow lamp. Itâs night out.
The room is painted in shadows from the lamp and television. We can
see a modest kitchen off to the side and a hallway that disappears
into darkness. The kitchen light is on. A dingy wall clock reads
9:45.
1 CAP: I TRY TO CONCENTRATE BUT ITâS HARD. I GET HEADACHES WHENEVER
I READ TOO MUCH.
2 CAP: IT DONâT HELP ANY THAT SHEâS LEAVINâ. GOTTA MAKE IT TO HER
THIRD JOB. ITâS A NEW ONE. GOT BUSTED AT THE LAST ONE CARRYINâ THAT
PUNKâS $#@%. IT HAPPENS A LOT.
Panel 2 A diner. Itâs small. No one is here except an
African-American waitress in her mid-30âs and a hooded man at a
booth. Her name is Bethany, sheâs Jasonâs mother, and sheâs getting
ready to make a drop. Sheâs hiding something in her apron and
making her way to the hooded man.
3 CAP: SHE DOES IT FOR THE EXTRA MONEY. TO MAKE ENDS MEET. OTHER
MOMS CLIP COUPONS OR SOMETHING.
Panel 3 Jasonâs mom is holding out two bags of pills. One is red
and the other is blue. The hooded man reaches out for them.
4 CAP: MINE RUNS RED ICE.
Panel 4 An overweight man comes out from the back of the diner and
appears to be yelling at the waitress. Heâs pointing at the hooded
man beating a hasty retreat. Heâs just made it outside the front
door. The waitress is terrified.
5 CAP: âCOURSE ITâS ONLY A MATTER OF TIME âFORE SHE GETS CAUGHT.
THEN ITâS ADIOS âFORE THE COPS SHOW UP.
Panel 5 Jason pauses from reading the text book long enough to let
his mom kiss him goodbye. Sheâs wearing a new waitress uniform and
carrying a large purse.
6 CAP: I DONâT THINK SHE KNOWS I KNOW WHATâS SHE DOINâ. I CANâT
BRING MYSELF TO MENTION IT.
7 CAP: SO, I STUDY PAST THE PAIN. I STARE REAL HARD âTILL THE WORDS
COME CLEAR AND I CAN GET SOMETHING DONE.
Panel 6 Jason is alone. The kitchen light is off. The clock reads
11:30. Heâs holding his head and gritting his teeth in pain. Heâs
made a ball with his fist, taking some text book pages with it.
8 CAP: SOMETIMES THOUGH⦠I LET THE PAIN DO ITS THING FOR A BIT.
THE WORDS AINâT COMINâ TOGETHER ANYWAYS.
PAGE 9 Panel 1 Its morning and Jasonâs asleep in bed. Itâs a small
room littered with the trappings of a young teenage boy. A digital
clock at the head of the bed reads 10:30. Amongst the things on the
walls there are two posters for hip-hop artists. One is for a three
man group called âTriple Threatâ and the other is of a sexy young
woman named âRhapsody.â Thereâs also a badly cluttered desk. On it
we see a pair of generic glasses on top of an envelope. The glasses
are in the foreground and Jasonâs bed is in the background.
Panel 2 Same angle as Panel 1. Jason is missing from his bed. The
clock reads 10:34.
Panel 3 Same angle as Panel 1 again. Jason is now in front of us
and looks like a complete mess. Heâs wiping sleep from his eyes and
yawning widely while holding a letter with his other hand. The
envelope has been opened.
Panel 4 Weâre reading the hand written letter Jason is holding.
1 LETTER: JASON, I KNOW HOW HARD YOU HAVE BEEN STUDYING AND HOW
HARD IT IS FOR YOU. IâVE NOT BEEN ABLE TO GET YOU TO A DOCTOR BUT I
DID FIND A SHOP WITH A LOT OF GLASSES FOR SALE. IâLL GET YOU A PAIR
UNTIL WE FIND ONE THAT HELPS. IâM SO VERY PROUD OF YOU. LOVE, MOM
P.S. THEREâS CHICKEN AND MASHED POTATOES FOR YOU IN THE KITCHEN.
Panel 5 Jason holds the glasses with his free hand and eyes them
suspiciously.
PAGE 10 Panel 1 Jason is sitting in a cramped classroom wearing his
new glasses. A number of students stare and point. The teacher
seems oblivious. Jason wants to be anywhere else but here.
1 CAP: SOMETIMES I CANâT HELP BUT WONDER IF ADULTS FORGOT WHAT IT
WAS LIKE GOING TO SCHOOL.
2 CAP: CONTACTS CANâT BE THAT EXPENSIVE.
Panel 3 Jason is walking home, backpack slung over his shoulder.
The glasses are absent from his face. Heâs deep in thought.
3 CAP: I KNOW SHE TRYINâ. GUESS IâM JUST BITCHINâ. THESE GLASSES
AINâT WORKINâ ANYWAYS. DONâT KNOW HOW LONG ITâLL BE âFORE SHE CAN
GET ME A NEW PAIR. IF IâM LUCKY ITâLL BE AWHILE.
4 CAP: MAKES ME FEEL LIKE @&#$ BUT THATâS WHERE I AM. I GOTTA MAKE
IT THROUGH THE DAY AND PUTTING A SIGN ON MY BACK AINâT GONNA MAKE
THAT EASIER. SOUNDS PETTY BUT THATâS LIFE.
Panel 3 Same angle and everything from panel 1 page 9. Only thing
different is a new pair of glasses. No envelope this time.
5 TITLE: THE NEXT DAY
6 CAP: GUESS MOMâS MORE SERIOUS THAN I THOUGHT.
Panel 4 Jason is reading again on the couch under the dim yellow
light and rubbing his head. The clock reads 7:30.
6 BETHANY (OP): HOW THOSE GLASSES WORKING OUT? ANY BETTER?
7 JASON: YEAH, MA, THEYâRE FINE.
8 BETHANY (OP): DONâT LIE TO ME. I CAN HEAR IT IN YOUR VOICE. IâLL
GET YOU SOMETHING DIFFERENT ON MONDAY.
9 JASON: YOU DONâT HAVE TO DO THAT.
Panel 5 Bethany peeks out from the kitchen. Sheâs beaming. Thereâs
a small bit of flour on her cheek that somehow enhances her beauty.
10 BETHANY: NOW YOUâRE BEING RIDICULOUS.
11 BETHANY: HONEY, I KNOW YOU HATE THEM BUT YOUR SCHOOL WORK IS
MORE IMPORTANT THAN LOOKING COOL.
12 BETHANY: HOW ABOUT THIS? SINCE YOUâVE ALWAYS DONE YOUR STUDYING
HERE YOU ONLY HAVE TO WEAR THEM HERE. DEAL?
Panel 6 Jason is looking up at her and smiling widely at his
mother.
13 JASON: DEAL.
PAGE 11 Panel 1 Weâre tight on Jasonâs face and heâs wearing a new
pair of glasses. Heâs not happy.
1 TITLE: MONDAY
Panel 2 Another pair of glasses heâs unhappy with.
2 TITLE: TUESDAY
Panel 3 And another.
3 TITLE: WEDNESDAY
Panel 4 And another.
4 TITLE: THURSDAY
Panel 5 Guess what? Another.
5 TITLE: FRIDAY
Panel 6 Weâre still going!
6 TITLE: MONDAY
Panel 7 Almost done.
7 TITLE: TUESDAY
Panel 8 Finish line in sight.
8 TITLE: WEDNESDAY
Panel 9 One more pair of glasses Jason hates.
9 TITLE: THURSDAY
10 CAP: THIS IS JUST GETTING WEIRD.
PAGE 12 Panel 1 Jason is in the kitchen and itâs morning. Itâs
small but effective. Thereâs a tiny table off to the side where two
people could eat. Jason is sitting and eating a bowl of cereal.
Bethany is opposite him reading a magazine.
1 TITLE: FRIDAY
2 BETHANY: THOSE NEW GLASSES WORKING OUT ANY BETTER?
3 JASON: I DUNNO. HAVENâT TRIED THEM ON YET. IâM NOT BACK FROM
SCHOOL YET.
4 BETHANY: IF THEY DONâT, LEAVE THEM OUT FOR ME. IâM GONNA BE HOME
LATE AND I DONâT WANT TO FORGET.
5 JASON: I HEAR YA.
6 JERMAINE (VO): WHAT YOU SAY!?
Panel 2 Jason is down on the ground bloodied and beaten on the
sidewalk. Jermaine, a fat man three times his age and girth, leers
over him flanked by his associates. People are watching but no one
is doing anything to stop the fight. Jason looks like a helpless
pup in the shadow of his assailant. Gone is the confidence we saw
in him during his previous encounter with a dealer.
7 JASON: I SAID I HEAR YA.
6 JERMAINE: NIGGA I KNOW YOU HEAR ME! PROBLEM IS YOU AINâT
LISTENINâ TO ME. I CANâT HAVE âDAT.
Panel 3 Weâre tight on Jermaine and his posse. They look like a
dangerous group and do not look kindly upon Jasonâs typical
attitude.
8 JERMAINE: HERE âDA THING â I DONâT HIT BITCHES. CALL ME LANCELOT
OR SOME %*&@. NOW, IT AINâT MY FAULT YOUR MOMS HAD A BOY. SO, DONâT
TAKE THIS PERSONAL OR ANYTHING. I AINâT MAD AT YOU.
9 JERMAINE: BUT I GOTTA MAKE MY POINT, YOU UNDERSTAND? I CANâT HAVE
PEOPLE DISRESPECTING ME AND âDATâS WHAT YOUR MOMS HAVE DONE.
DISRESPECT ME.
Panel 4 Jermaine lands a powerful kick to Jasonâs gut. Jermianeâs
posse roars with laughter.
10 JERMAINE: I CANâT HAVE âDAT!
11 POSSE: DAMN BOY! âDAT LOOK LIKE âDAT HURT!
Panel 5 Jason is looking up a Jermaine from the ground. Heâs
holding his stomach with one arm and propping himself up with the
other. His right eye is swollen closed. A bit of blood escapes his
mouth.
12 JERMAINE (OP): YOU TELLS YOUR OLD LADY SHE AINâT SELLING ON MY
BLOCK UNLESS I GET A CUT OR I TELL HER TO. I DONâT CARE IF THE
BITCH CANâT KEEP A JOB. YOU LISTENINâ?
13 JASON: IâM LISTENINâ.
Panel 6 Jermaine and his posse walk away leaving Jason on the
ground to tend to his wounds. Jason looks ashamed.
14 POSSE (IN THE DISTANCE): %$&@ MAN, HIS âOL LADY NEED A JOB I GOT
ONE FOR HER IN MY âDRAWS!
15 LAUGHTER: AHHHAHAHAHA!!!
Panel 7 Itâs later in the evening and Jason is in bed. His room
looks torn apart. Heâs curled into a ball crying. This is all too
much for him. We also see a new pair of glasses on his desk.
Theyâre the exact same a pair that belonged to Charles Chandler.
They should stand out as a beacon of sorts. The thing that will
change Jasonâs life is within his grasp.
PAGE 13 Panel 1 Jason is in his room at his desk reading. Itâs
morning. Heâs still very bruised from the previous day. Heâs
wearing his new glasses.
1 CAP: IâLL TELL MY MOM I GOT INTO A FIGHT OR SOMETHINâ AFTER
SCHOOL. NO REASON GETTING HER WORRIED ABOUT SOMETHINâ SHE AINâT
GONNA CHANGE.
2 CAP: NOT LEAST âTILL SHE CAN GET MONEY SOME LEGITâ WAY.
3 CAP: AT LEAST THESE GLASSES WORK. GOT THAT GOINâ FOR US.
Panel 2 Jason is leaning back in his chair yawning and rubbing the
bridge of his nose. His glasses are on the desk. He hears Charles
Chandlerâs voice in his head but he doesnât know that yet.
4 CHARLES: HELLO?
Panel 3 Jason has fallen over backwards in his chair. Only his
feet, in the air, are in frame.
Panel 4 Jason has pulled himself up to the edge of the desk, which
heâs half using as cover, and is suspiciously eyeing his
surroundings.
5 JASON: MAN, WHO SAID THAT? DWAYNE, YOU #$&@ING IN MY HOUSE AGAIN?
BITCH, I TOLD YOU I AINâT PLAYINâ AT THAT. YOU WANT IN YOU DAMN
WELL BETTER KNOCK!
Panel 5 Jason looks in disbelief when he realizes the voice he
heard came from the glasses.
6 CHARLES: YOUNG MAN, YOU CAN HEAR ME?
7 JASON: HELL YEAH I CAN HEAR YOU! THESE SOME JAMES BOND 007
GLASSES OR SOME #@&$?
8 JASON: YOU AINâT NO PREV GETTING OFF LISTENINâ TO LITTLE BOYS ARE
YA âCAUSE MY COUSIN JAMAL KNOWS SOME DUDE WHO KNOW SOME COPS.
Panel 6 Jason is holding the glasses away from his face trying to
look through the lenses but not actually put them on.
9 CHARLES: NO, ITâS NOT LIKE THAT AT ALL. LISTEN, IF YOU LOOK
THROUGH THE GLASSES AND CONCENTRATE ON THE LENSES YOUâLL SEE AN
IMAGE.
10 JASON: MAN, IâM LOOKINâ BUT I AINâT PUTTINâ THEM BACK ON.
11 CHARLES: THATâS FINE JUST LOOK. YOU SHOULD SEE SOMETHING IF YOU
CONCENTRATE!
12 JASON: STOP RUSHINâ A NIGGA. IâM LOOKINâ ALREADY. #$@&, WHY YOU
IN SUCH A RUSH? COPS AFTER YOU OR SOMETHING?
13 CHARLES: NOTHING LIKE THAT. ITâS JUST BEEN SO LONG SINCE ANYONE
COULD HEAR ME.
14 JASON: YEAH, WHATEVER MAN.
PAGE 14 Panel 1 We now see Charlesâ image faded upon the lenses.
One exact copy in each lens in the exact same position. Weâre also
looking through the lenses onto Jasonâs bewildered expression.
1 JASON: $*@# MAN, YOU KNOW YOU NAKED?
2 JASON: YOU IS A *&%#ING PERV!
3 CHARLES: ITâS NOT LIKE THAT. IâM TRAPPED IN HERE LIKE THIS. ITâS
NOT LIKE I HAVE A CHOICE IN THE MATTER.
4 JASON: WHATEVER FREAK.
PAGE 15 Panel 1 Jasonâs wearing the glasses again and sitting in
his desk chair. Heâs leaning back and waving his hand in front his
face amused with this new discovery.
1 JASON: SO, WHATâS YOUR NAME?
2 CHARLES: WHAT, YOUâRE DONE RIDICULING ME?
3 JASON: IF YOU GONNA BE LIKE THAT I CAN KEEP CALLINâ YOU âPERVâ IF
YOU WANT.
4 CHARLES: *SIGH* CHARLES CHANDLER.
5 JASON: NO WAY!
6 CHARLES: YOUâVE HEARD OF ME?
8 JASON: YEAH, LIKE THAT GUY ON THAT SHOW WITH ALL THOSE WHITE
PEOPLE IN NEW YORK.
Panel 2 Weâre looking down at Jason from above in the same position
as the previous panel but closer to his face and torso. We can just
make out Charlesâ image in the lenses.
9 CHARLES: WHAT SHOW? âFRIENDS?â THAT GUYâS NAME ISNâT CHARLES.
10 JASON: WHATEVER. I JUST WATCH IT FOR THAT JENNIFER ANISTON
CHICK. SHEâS PRETTY TIGHT.
11 CHARLES: YOU KNOW HER REAL NAME BUT YOUâRE FUZZY ON THE OTHER
DETAILS?
12 JASON: I AINâT A FAN OR NOTHINâ. GET OFF MY BACK.
Panel 3 Jasonâs sitting up in the chair now and pointing at Charles
in the lenses. Heâs still wearing the glasses. Charles is more
visible but still translucent.
13 JASON: SO WHATâS YOUR STORY? WHAT ARE YOU DOINâ IN MY GLASSES?
14 CHARLES: FIRST, THEYâRE MY GLASSES. THAT I ALSO HAPPEN TO LIVE
IN THEM ONLY UNDERLINES THIS POINT. 15 JASON: GREAT. AND?
16 CHARLES: I HONESTLY DONâT KNOW. I WAS ABOUT TO HEAD TO TOKYO IN
MY JETâ
Panel 4 Jason is suspicious of the story already. He has the
glasses in his hand and is pointing at them again.
17 JASON: JET? WHAT, YOU RICH?
18 CHARLES: I LIVE IN A PAIR OF GLASSES. I WOULDNâT CALL MYSELF
ANYTHING.
19 JASON: MAN, YOU KNOW WHAT I MEAN!
20 CHARLES: I DONâT KNOW. I GUESS.
21 JASON: YOU GUESS? YOU OWNED A JET!
22 JASON: YOU A REPUBLICAN?
23 CHARLES: DO YOU WANT TO HEAR THIS OR NOT?
24 JASON: GO RIGHT AHEAD⦠REPUBLICAN.
Panel 5 Weâre inside one of the lenses now. Charles is really
naked. Heâs looking out at Jason who seems like a giant holding an
ant.
25 CHARLES: I WAS ON MY WAY TO TOKYO ON A JET WHEN IT GOT HIT BYâ¦
SOMETHING. I DONâT KNOW WHAT. NEXT THING I REMEMBER IS BEING
TRAPPED HERE IN THESE GLASSES.
26 CHARLES: I LIVED IN AN EVIDENCE LOCKER FOR MONTHS THEN I FOUND
MYSELF IN THE POSESSION OF A COP WITH BAD EYESIGHT.
27 CHARLES: GUESS I WASNâT A GOOD FIT.
28 CHARLES: FROM THERE I GOT PASSED AROUND. I LOST TRACK HOW MANY
PEOPLE I WENT THROUGH. LONG STORY SHORT I ENDED UP IN A DETROIT
RESALE SHOP. Panel 6 Jason is still sitting in his chair but is
holding out the glasses to a light in the ceiling looking at
Charles with one eye closed.
29 JASON: THAT IT? YOU JUST ENDED UP IN THE âD?â
30 CHARLES: WELL, MOST IF IT.
PAGE 16 Panel 1 Weâre in an elegantly decorated private office.
Thereâs a huge roaring fireplace set into a wall adorned with
paintings and flanked by two statues. In front of the fireplace is
a small reading table with two plush chairs on either side. A
beautiful enormous rug covers most of the hardwood floor in this
room. Opposite the two towering doors that lead into here is a desk
carved of the finest woods by the most gifted craftsmen. To the
left of this desk is a small but stocked bar filled with bottles
and flasks of whatever liquor anyone could ever want. This place is
the model of opulence any emperor would be happy to call his own.
However itâs the property of a powerful and stunningly attractive
woman. Weâd better know that if her features werenât obscured.
Sheâs writhing on the floor and cast in the same golden glow that
struck down Chandlerâs jet.
Panel 2 Jason has the glasses on the desk and is now sitting on his
bed staring at them in disbelief.
1 JASON: THATâS PRETTY $%*@ED UP.
2 CHARLES: I SUPPOSE.
3 JASON: WHAT WAS THAT ALL ABOUT?
4 CHARLES: I WISH I KNEW.
5 JASON: SO, WHAT, YOU RADIOACTIVE OR SOMETHING? SHE GET POWERS?
6 JASON: WILL I GET POWERS!?
Panel 3 Charles is sitting now. We see him, and the glasses, in the
foreground with Jason in the background on his bed.
7 CHARLES: I DONâT THINK IT WORKS LIKE THAT. SORRY.
8 JASON: WELL, WHAT MADE THAT HAPPEN TO HER?
9 CHARLES: SHE WAS TRYING TO CONCENTRATE ON ME. SHE THOUGHT THE
HARDER SHE TRIED THE MORE CLEAR I BECAME. LIKE THE TWO IMAGES OF ME
IN THE LENSES SOMEHOW MERGED. TO BE HONEST IT DID FEEL STRANGE.
10 JASON: SO, SOME CRAZY %$*# HAPPENED. THEN WHAT?
11 CHARLES: SHE WAS TAKEN TO THE HOSPITAL. THEY STUFFED ME IN A BAG
AND I ENDED UP IN THE TRASH.
Panel 4 Jason lays back in his bed and considers.
12 JASON: YOU KNOW WHAT HAPPENED TO HER?
13 CHARLES (OP): I WISH I DID, THEN MAYBE IâD HAVE SOME ANSWERS.
14 JASON: SHE SOUNDED RICH. MAYBE THE NEWS COVERED IT OR SOMETHINâ?
15 CHARLES (OP): WHAT ARE YOU SAYING?
Panel 5 Jason is sitting back up and heâs excited. He points at the
glasses as if heâs about to make some kind of deal.
16 JASON: ITâS SATURDAY. MY MOM AINâT GONNA BE HOME UNTIL LATE.
IâVE GOT NOTHINâ TO DO. WHY NOT HIT THE LIBRARY OR SOMETHIN?
17 CHARLES: WHAT, LIKE INVESTIGATE?
18 JASON: YEAH, JUST LIKE âDAT!
19 CHARLES: THIS WAS YEARS AGO AND I DOUBT THEREâS MUCH TO FIND. IT
DIDNâT HAPPEN IN DETROIT.
20 JASON: SO? WHY YOU GOTTA BE SO PESSIMISTIC? MAYBE WHILE IâM
THERE I CAN FIND OUT MORE ABOUT YOUR STORY.
21 CHARLES: YOU THINK IâD MAKE IT ALL UP?
PAGE 17 Panel 1 Jason is walking into a small public library.
Thereâs light graffiti on the outside of the building. A few teens
are walking by and smoking. An elderly black man maintains the
grass.
1 CAP: YOU A NAKED GUY IN SOME GLASSES. I DONâT KNOW WHAT YOUâD
SAY.
Panel 2 Jason is sitting at a computer. He has the glasses on the
desk beside him.
2 JASON: WHAT AM I LOOKINâ FOR?
3 CHARLES: MELINDA ST. CLAIRE OF BOSTON.
4 JASON: YOU GET AROUND BOY.
5 CHARLES: FIND ANYTHING?
6 JASON: YEAH, GOT SOMETHINâ. SHE FINE AS HELL!
Panel 3 Jason has brought up a large picture of Melinda. Sheâs a
striking redhead. Think Angie Everhart but with a figure.
7 JASON: MAN, HOW YOU GET WITH SOMEONE LIKE HER?
8 CHARLES: ARE YOU SERIOUS? IâM TRAPPED IN A FRICKINâ PAIR OF
GLASSES! I DONâT HAVE A SAY IN WHERE I GO.
9 CHARLES: YOU KNOW WHAT HAPPENED TO HER?
10 JASON: I THINK SO. SOMETHINâ ABOUT A SEIZURE IN HER OFFICE. NOT
MUCH ELSE. SHEâS STILL WORTH A CRAP TON OF CASH. LOOKS LIKE HER RUN
IN WITH YOU DIDNâT EFFECT HER STOCK PORTFOLIO NONE.
11 JASON: A NIGGA HAVE A SEIZURE AND EVERYONE THINK THEY ON
SOMETHINâ.
12 CHARLES: YES, A SAD COMMENTARY ON OUR SOCIETY. CAN WE MOVE ON
PLEASE?
13 JASON: WHAT YOU SO IMPATIENT FOR?
14 CHARLES: IâD JUST RATHER BE DONE WITH HER. SHE WASNâT⦠SAFE.
Panel 4 Jason is doing a search on Charles Chandler in Google.
15 JASON: WHAT YOU MEAN SAFE? LIKE DRIVE TOO FAST NOT SAFE OR BOIL
YOUR PET RABBIT NOT SAFE?
16 CHARLES: PET RABBIT? ISNâT THAT A LITTLE BEFORE YOUR TIME?
17 JASON: A CLASSIC IS A CLASSIC. IT AINâT âSCARFACEâ OR NOTHINâ
BUT ITâS STILL MESSED UP.
18 CHARLES: MAYBE A LITTLE MORE OF THE RABBIT THING. I DONâT KNOW.
SHE WAS JUST VERY UNSETTLING. IâM GLAD TO BE AWAY FROM HER AND
LETâS LEAVE IT AT THAT.
19 JASON: MAN, YOU STARTINâ TO SOUND LIKE ONE OF THOSE âLIFETIME
ORIGINAL MOVIES.â IâM NOT SAYINâ I AINâT HEARD OF A CRAZY BITCH
HITTINâ HER MAN BUT USUALLY HE AINâT SO OPEN ABOUT IT.
20 JASON: NOTHINâ PERSONAL BUT IâM GETTING A LITTLE EMBARASSED
TALKINâ WITH YOU, YOU KNOW WHAT I MEAN? 21 CHARLES: I CAN ASSURE I
DONâT. YOUâRE THE ONE THAT KEEPS PUSHING. I FIGURED A LITTLE
HONESTY WAS IN ORDER WITH THE GUY KEEPING ME IN HIS POCKET.
22 JASON: KEEP SOME OF THAT STUFF TO YOURSELF. WE AINâT THAT CLOSE.
Panel 5 We see people in the library going about their business as
Jason does his work. The librarian is talking to some random
student in the background.
23 CHARLES: ARE WE DONE HERE?
24 JASON: HOLD ON A SECOND, MAN. I JUST FOUND SOME STUFF ON YOU.
25 CHARLES: ANYTHING I DIDNâT ALREADY TELL YOU?
26 JASON: NAH, MAN, EVERYTHING YOU SAID CHECKS OUT. YOU WORTH A TON
OF MONEY.
28 CHARLES: I WAS WORTH A LOT OF MONEY. IâM SURE ALL MY ASSETS HAVE
BEEN ROLLED INTO MY COMPANY PER MY WILL. EVERYTHING I OWNED IS NOW
COMPANY PROPERTY.
29 JASON: YOU A SMART MAN, RIGHT?
30 CHARLES: I GUESS SO. WHY?
31 JASON: IF I WERE A RICH WHITE GUY IâD MAKE PLANS FOR WHATEVER
COULD JUMP OFF.
32 CHARLES: IâM NOT FOLLOWING.
33 JASON: YOU KNOW HOW TO MANAGE MONEY. IF YOU DIDNâT YOU WOULDNâT
BE RICH. YOU ALSO KNOW YOU DONâT KEEP ALL YOUR #@%& IN ONE PLACE.
YOU MOVE IT AROUND. YOU KEEP MOST WHERE PEOPLE WOULD EXPECT IT TO
BE BUT SOME YOUâD HIDE. LIKE HIDDEN ACCOUNTS OR SOMETHING.
Panel 6 Jason is talking directly to the glasses. We see on the
computer monitor that he has brought up an article about Charlesâ
crash.
34 CHARLES: WHAT ARE YOU TRYING TO GET AT?
35 JASON: I NEED MONEY. ENOUGH TO MAKE SURE MY MOM ONLY NEEDS TO
WORK ONE JOB.
36 CHARLES: IâM A NAKED GUY IN SOME GLASSES. I CANâT EXACTLY WALK
INTO THE NEAREST BANK BRANCH.
37 CHARLES: FOR ME TO MOVE ANYTHING I NEED SOMEONE WHO CAN TALK FOR
ME AND SOUND LIKE THEY KNOW WHAT THEYâRE DOING.
Panel 7 Jason is smiling widely.
38 JASON: DONâT WORRY âBOUT THAT. I GOT IT ALL COVERED.
PAGE 18 Panel 1 Jason is sound asleep in bed in a rather
embarrassing position. Its early morning.
1 CAP: FIVE WEEKS LATER
Panel 2 Still asleep.
Panel 3 Blissful as a baby.
Panel 4 Jason nearly falls out of bed in surprise.
2 BETHANY (OP): OH MY GOD!
Panel 5 Jason walks into the living room, rubbing the sleep from
his eyes. Bethany is holding a letter in one hand and a check in
the other (not that we know that yet). Sheâs waving the check in
the air.
3 JASON: WHATâS GOING ON?
PAGE 19 Panel 1 Bethany is on her knees in front of Jason and
holding him by his shoulders. Sheâs looking him deep in his eyes,
near tears herself.
1 BETHANY: THE LORD HAS ANSWERED MY PRAYERS, BABY. NO MORE WORKING
LATE. NO MORE SELLING POISON. IâM GONNA BE HERE FOR YOU EVERYDAY
WHEN YOU GET OUT OF SCHOOL!
2 JASON: WHAT ARE YOU TALKINâ ABOUT?
Panel 2 Bethany presses the letter into Jasonâs hand. Tears are
flowing freely down her cheeks.
3 BETHANY: I GOT THIS IN THE MAIL.
4 BETHANY: GOD TOLD SOME WONDERFUL MAN TO SEND A CHECK TO ME. HE
DIDNâT GIVE HIS NAME BUT HE SAID HE COULDNâT IGNORE GODâS WILL,
LORD BLESS HIM!
Panel 3 Jason is smiling warmly as his mother dances gracefully
singing praises.
5 JASON (CAP): SHE WAS HAPPY. SHE DESERVED TO BE.
PAGE 20 Panel 1 Jason is back in his room sitting on his bed. Heâs
in a sour mood. The glasses are on Jasonâs desk.
1 CHARLES: THIS IS WHAT YOU WANTED, ISNâT IT?
2 JASON: YEAH BUT IT FEELS LIKE SHEâS BEING CHEATED.
3 CHARLES: HOW DO YOU FIGURE THAT?
4 JASON: GOD HAD NOTHING TO DO WITH IT. WE SHOULD BE GETTING THE
CREDIT. OR AT LEAST YOU.
5 JASON: NOT GOD.
Panel 2 Weâre angled looking through the glasses at Jason sitting
on the bed. Charles is standing and gesturing.
6 CHARLES: THE LETTER WAS WRITTEN AS YOU INSTRUCTED. WHAT DID YOU
EXPECT?
7 JASON: I HAD TO DO IT THAT WAY. SHE WOULD HAS SUSPECTED SOMETHINâ
ANY OTHER WAY.
8 CHARLES: SO WHATâS THE PROBLEM?
9 JASON: ITâS JUSTâ¦
Panel 3 Weâre looking down on the glasses and Jason from above.
Jason is now pacing the room.
10 JASON: â¦SHEâS WORKED SO DAMN HARD. SHE EARNED A BREAK. WHY DID
I HAVE TO BE THE ONE TO GIVE IT TO HER?
Panel 4 Bethany is on the phone with someone and is excitedly
reciting her tale.
11 JASON (VO): I KNOW SHEâS BEEN PRAYING. SHE DIDNâT HAVE TO TELL
ME. I HEAR HER WHEN SHE THINKS SHEâS BEING QUIET. I HEAR HER CRIES
AT NIGHT.
12 JASON (VO): SHE PLEADS WITH GOD TO HELP HER. SHE BEGS. CAN YOU
IMAGINE HOW THAT MAKES ME FEEL? SHE TRIES TO PROTECT ME. SHE TRIES
TO BE WHAT A MOTHER SHOULD BE BUT I KNOW ITâS A FRONT.
13 JASON (VO): IâVE SEEN HER BEG AN INDIFFERENT GOD FOR RELIEF.
Panel 5 Jason is angry now. Tears are now coming down his cheeks.
He points an accusatory finger at the figure in the glasses.
14 JASON: AND HE *%@#ING IGNORES HER!
PAGE 21 Panel 1 Weâre outside looking at a particularly decrepit
part of Jasonâs neighborhood. There are a few children in tattered
clothes running around. A homeless man is rifling through an
abandoned car.
1 JASON (VO): HAVE YOU SEEN THIS PLACE? HAVE YOU SEEN WHERE I LIVE?
WHO IN THEIR RIGHT MIND WOULD WANT TO BE HERE? WHO WOULD WANT TO
RAISE A KID HERE? NO ONE! BUT THERE AINâT %$#* WE CAN DO âBOUT IT,
IS THERE?
Panel 2 A muscular man is between the legs of a young woman
fighting for her life. He has a hand on her throat and another
groping a breast from under her shirt. The woman cries out but
there is no one to hear her. Even if there were thereâs little
chance theyâd do anything.
2 JASON (VO): STRONG TAKE FROM THE WEAK. THATâS THE ORDER OF THINGS
IN AMERICA. THEREâS NO ESCAPING IT. WE WRAP OURSELVES IN
CATCHPHRASES LIKE âINALINEABLE RIGHTSâ AND TELL OUR FAMLIES WEâRE
ABOVE IT ALL. WEâRE PROTECTED FROM THE BASEST PREDATORS IN THE
WORLD BECAUSE WE RECOGNIZE THE INHERENT WORTH OF THE INDIVIDUAL. WE
SAY OTHERS HAVE VALUE BECAUSE WE BELIEVE WE HAVE VALUE AND IN OUR
BENEVOLENCE WE THINK EVERYONE SHOULD BE JUST LIKE US.
Panel 3 The man is now on top of the woman. His face is buried into
her neck. Sheâs screaming and crying in both pain and terror.
3 JASON (VO): ITâS ALL BULL#%*@.
4 JASON (VO): YOUR WORTH IS NOT DEFINED BY WHAT YOU SAY IT IS BUT
BY HOW MUCH TROUBLE SOMEONE IS WILLING TO GO THOUGH TO TAKE FROM
YOU.
Panel 4 Back in Jasonâs bedroom we see that he has his face buried
in his hands. The glasses are still on the desk. Charles tries to
direct Jasonâs thinking.
5 CHARLES: WHAT IF â WHAT IF WHAT WE SAY DIDNâT MATTER? WHAT IF
WHAT OTHER PEOPLE THOUGHT ABOUT US DIDNâT MATTER?
6 JASON: WHAT ARE YOU SAYING?
Panel 5 We close on Charles and what heâs speaking is coming from
his heart.
7 CHARLES: LISTEN, I NEVER HAD TIME FOR RELIGION. BUT A LOT OF THE
PEOPLE I KNEW DID. IT MADE THEM HAPPY. IT DIDNâT MATTER WHAT THEY
OWNED OR WHERE THEY LIVED. THEY WERE HAPPY AND CONVINCED THAT
SOMETHING GREAT WAS LOOKING OUT FOR THEM.
8 CHARLES: YOUR MOTHER SEEMS LIKE THAT KIND OF PERSON. SURE, SHEâS
CRIED BUT WHO HASNâT? THEREâS NOTHING WRONG WITH CRYING WHEN THINGS
GET ROUGH. ITâS WHAT WE DO IN THOSE MOMENTS OF WEAKNESS THAT DEFINE
US. I DONâT THINK YOUR MOTHER EVER DID ANYHTING IN THOSE MOMENTS TO
BE ASHAMED OF.
9 CHARLES: JASON, IF SHE DOESNâT BLAME GOD FOR THE CONDITION OF HER
LIFE, WHY DO YOU? OF ANYONE SHE HAS THE MOST TO BLAME GOD FOR AND
YET SHE DOESNâT. SHE KEEPS COMING BACK TO HIM FOR COMFORT.
Panel 6 Jason is looking up not at Charles. His anger has now
turned to guilt.
10 CHARLES (OP): WHY WOULD YOU WANT TO TAKE THAT FROM HER?
PAGE 22 Panel 1 Jason is walking down a street carrying on a
conversation with Charles, who currently is residing in Jasonâs
pocket. Rather worn brick buildings line either side. In the
distance, through the ruddy haze, we can see the outlines of a
number of towering buildings. Jasonâs coming home from school and
it looks like it was a good day.
1 TITLE: TWO WEEKS LATER
2 JASON: YEAH, THEN THE CRAZY BITCH LET GO AND HE FELL ON THE OTHER
DUDE. BULLET IN THE SHOULDER AND LEG WASNâT ENOUGH. HE EMPTIED THE
GUN POINT-BLANK. IT WAS COLD.
3 CHARLES: GUESS YOU HAD TO BE THERE.
4 JASON: YEAH, I GUESS. IT DOESNâT SOUND AS SWEET IN THE RETELLINâ.
YOU DONâT SEE IT COMINâ OR NUTHINâ! A PRIEST!? MAN, THATâS %$*#ED
UP. LIKE âMAN OF THE CLOTH â WITH A VENGENCE!â
5 CHARLES: SO THEN WHAT?
6 JASON: HE GRABBED THE GIRL A GOT THE HELL OUT. WHAT WOULD YOU DO?
7 CHARLES: I PROBABLY WOULDNâT HAVE SHOT THE GUY.
8 JASON: GUESS THATâS WHY YOU SINGLE.
9 CHARLES: OH, THATâS FUNNY. HA-HA.
PAGE 23 Panel 1 Jason turns a corner and sees Jermaine and his
posse waiting for him with evil in their eyes.
1 JERMAINE: WHATâS UP BOY? WHO YOU CHATTINâ WITH?
2 POSSE: YEAH, I AINâT SEE NO FRIENDS. YOU GOT A MOUSE IN YOUR
POCKET?
Panel 2 Jason knows whatâs about to go down and makes a move to
back away.
3 JASON: I DONâT KNOW WHAT YOU TALKINâ ABOUT, MAN.
4 JERMAINE: YOU CALLINâ ME A LIAR!?
5 POSSE: I THINK HE IS, MAN! âDATâS WHAT I HEARD!
Panel 3 Jermaine has Jason up in the air by his shirt. Heâs wearing
a sick grin.
6 JERMAINE: I THINK WE NEED TO TALK ABOUT âDIS IN A MORE PRIVATE
ENVIRONMENT.
7 POSSE: NOW âDATâS WHAT IâM TALKINâ âBOUT!
Panel 4 Jermaine literally tosses Jason into the air and down a
dark and filthy alley. He and his posse block the only way out.
8 JERMAINE: LETâS SEE IF YOU CAN FLY, BOY!
Panel 5 Jason lands, hard, against some trash cans. His face is
twisted in pain.
9 SFX: KA-BAMM!!!
PAGE 24 Panel 1 Jermaine is on Jason in a flash. A brutal kick to
the stomach doubles him over.
1 JASON: AHCHUF!
2 JERMAINE: I DONâT KNOW WHY YOU GOTTA MAKE ME DO THIS.
Panel 2 Jermaine slams an aluminum trash can across Jasonâs head.
3 SFX: THAWANG!
4 JERMAINE: I DONâT KNOW HOW IâLL SLEEP KNOWINâ YOUR MOMS IS CRYINâ
âBOUT HER LITTLE BOY.
Panel 3 Jasonâs on the ground. His face is bloodied and one eye is
swollen shut. In the background we see Jermaine and his men.
Jermaine has produced a knife. The sun bounces off the blade making
it look like its glowing. Jasonâs attackers are obscured by
shadows.
5 JERMAINE: I GUESS YOU DIDNâT GET THROUGH TO HER. DIDNâT MAKE IT
CLEAR SHEâS WORKINâ FOR ME.
6 JERMAINE: THERE WAS NO GETTINâ OUT. NOW I GOTTA DO THIS.
Panel 4 Weâre close on Jasonâs face. A single tear falls across his
bloodied cheek.
7 CHARLES: JASON⦠YOU HAVE TO GET UP. YOU HAVE TO TRY TO RUN!
8 JASON (RASPY): NOâ¦
PAGE 25 Panel 1 Jermaine is looking down the alley at Jason. He
doesnât believe his ears.
1 JERMAINE: NO?
2 JASON (RASPY): THERE AINâT NO RUNNINâ.
3 POSSE: MAN, HOW HARD YOU HIT HIM ON THE HEAD? HE HEARINâ VOICES?
Panel 2 Jason has slipped his hand into his pocket.
4 CHARLES: WHAT THE HELL ARE YOU DOING!? YOU HAVE TO RUN!
5 JASON: YOU REMEMBER THAT MELINDA CHICK?
6 CHARLES: YES, OF COURSE I â
7 CHARLES: OH NO. NO. NO. NO. NO. JASON, I HAVE NO IDEA WHAT
HAPPENED! SHE ENDED UP IN A HOSPITAL. YOU COULD END UP DEAD!
8 JERMAINE (OP): BOY, YOU GOT A FRIEND OVER THERE OR SOMETHINâ?
Panel 3 Jermaine sees Jason slip on his glasses.
9 JERMAINE: YOU THINK I WONâT KILL A KID WITH GLASSES? YOU DUMBER
THAN I THOUGHT.
10 JERMAINE: WHAT? NO SMART REMARK? NO MAKINâ WITH THE JOKES?
Panel 4 Jermaine and his men are now standing over Jason who looks
little more than a mouse in the midst of lions.
11 JERMAINE: ANY LAST REQUEST âFORE I SLICE YOU OPEN?
Panel 5 We see Charles inside the lenses. Past him we see Jasonâs
face. Heâs resigned himself to whatever happens next.
12 JASON: YOU READY?
13 JERMAINE (OP): BITCH, YOU KNOW I ALWAYS AM.
14 CHARLES: NO. BUT LETâS GET IT DONE.
Panel 6 Weâre outside the alley entrance. A golden glow explodes
out from the alley and blows several cars and other things across
to the other side of the street.
PAGE 26 Panel 1 The alley looks as if a bomb has gone off. But
whatâs important is that Jermaine and his men are on the ground
unconscious. Jason is nowhere to be seen. Standing in the middle of
all this is a lone figure. Heâs standing tall, fists clenched at
his sides. 3-D Man has returned.
PAGE 27 Panel 1 In a wide shot we see Melinda St. Claire is at her
desk in the office we saw on page 16, panel 1. Sheâs going over
some paperwork. A snifter of brandy is within armâs reach.
1 TITLE: MOMENTS EARLIER
Panel 2 She stretches back in her impressive chair and yawns.
Panel 3 Sheâs now on her feet and admiring her the roaring fire in
the fireplace. Thereâs a small smile on her lips.
Panel 4 Suddenly the smile is gone. She winces as though in pain.
Sheâs holding herself up against the wall beside the fireplace with
one arm.
Panel 5 Her body in now enveloped in a golden light. Her back is
arched and her head is thrown back. She looks as if sheâs going to
scream.
Panel 6 Weâre outside Melindaâs office looking at the massive doors
that lead into it. Golden light bleeds through the cracks in the
closed doors. We see Melindaâs personal assistant leaning over her
own desk not sure what is going on. Melinda screams.
2 MELINDA (OP): AHHHHHHHH!!!!
THE END
([2]hide)
References
1. file://localhost/var/www/powerblogs/deanesmay/posts/1181234249.html
2. file://localhost/var/www/powerblogs/deanesmay/posts/1181234249.html
More information about the Deanesmay
mailing list