PAGE One
PANEL ONE:
Interior. View of a crowded high school gymnasium, the bleachers filled and colorful banners hanging from the ceiling. The basketball court has been covered over with matting and gymnastics equipment. Barbara Gordon spins on the uneven parallel bars to the delight of the crowd, her bright red ponytail whipping behind her.
1 CAPTION: MIDTOWN HIGH SCHOOL.
2 CAPTION: These are the moments Barbara Gordon lives for.
PANEL TWO:
Interior. Barbara releases the higher bar, twirling through the air. Her body is short and lithe, and she curves in graceful arcs.
3 CAPTION: Because when you show them a little SEX APPEAL…
PANEL THREE:
Interior. Close-up on Barbara’s lower legs as she sticks the dismount, her feet together and knees bent.
4 CAPTION: Some STYLE and a lot of SKILL…
PANEL FOUR:
Interior. Close up of Barbara’s upper body as she grins, satisfied, and waves to the crowd.
SFX: CLAP CLAP CLAP CLAP
5 CAPTION: The CROWD goes WILD!-
PAGE TWO
PANEL ONE:
Interior. Babs sits down at the sidelines, towel wrapped around her neck, as she reaches for her water bottle. Her coach comes up behind her, looking elated.
1 BABS: How did I do?
2 COACH: Are you KIDDING? You NAILED it, Babs! The CHAMPIONSHIP is in the BAG!
PANEL TWO:
Interior. Babs’ grin fades a bit as she scans the crowd.
NO DIALOGUE
PANEL THREE:
Interior. Barbara’s face lights up when she spots her father standing near the back.
3 ANNOUNCER: And the scores are…
4 ANNOUNCER: 9.8… 9.7… 9.9… 9.8…
5 ANNOUNCER: … 10
PANEL FOUR:
Interior. Close-up of Barbara’s head as she smiles, taking her hair out of its ponytail.
6 CAPTION: That’s it. They’re going to State. And if Babs’ intuition is right…
7 CAPTION: They’re going to WIN.
PAGE THREE
PANEL ONE:
Exterior. Spider-Man swings above the Manhattan traffic, patrolling the city.
1 CAPTION: If you asked Peter Parker a YEAR ago what would be doing NOW, never in a MILLION YEARS would he have guessed the TRUTH.
2 CAPTION: Then again, getting REMARKABLE POWERS from a genetically altered SPIDER and becoming a superhero —-
3 CAPTION: (Who swings through New York City in BRIGHTLY-COLORED TIGHTS)
4 CAPTION: -- is hardly something you would put money on …
5 CAPTION: … ESPECIALLY since Peter is only in his SOPHOMORE YEAR of high school.
PANEL TWO:
Exterior. Spider-Man perches on a building and peers over the ledge into the alleyway, where a drug deal is going down. Strains of conversation can be heard.
6 ADDICT: C’mon … I only need a little …
7 ADDICT: … I promise … last time … no, you don’t …
PANEL THREE:
Exterior. On the roof, Spider-Man’s “spidey sense” goes off, causing him to start. A cry for help is heard on the wind.
8 VOICE: Help me … please!
PANEL FOUR:
Exterior. Spiderman shoots a web onto an adjacent building.
9 SPIDEY: (sigh.)
PANEL FIVE:
Exterior. Long shot of Spider-Man swinging away.
NO DIALOGUE
PAGE FOUR
PANEL ONE:
Interior, high school hallway. A mob of people exit the gym as Jim Gordon fights his way over to the edge of the hall, where the gymnastics team is standing, waiting to enter the locker room. Jim, hair and mustache grayed before his years, seems weathered, but gentle.
1 JIM: Excuse me --
2 JIM Pardon --
3 JIM Sorry --!
PANEL TWO:
Interior. Jim comes up on Barbara, and tries to give her a bear hug.
4 JIM: You did GREAT, kiddo--!
5 BABS: Ugh, don’t HUG me, dad, I’m SWEATY and DISGUSTING.
PANEL THREE:
Interior. Jim pulls back, looks at his daughter.
4 JIM: Bit too late for that, champ. But you’re RIGHT.
5 JIM: SHOWER and CHANGE, and then we can go out for some PIZZA- my treat.
6 JIM: Sound good?
7 BABS: Sounds GREAT, I’m STARVED. Can Jane come, too?
8 JIM: As long as it’s okay with her PARENTS…
PANEL FOUR:
Interior. Babs smiles over her shoulder as she entered the locker room. Jim smiles wistfully.
9 JIM (CAP): It’s at times like these when I MOST wish that Sarah were alive. To see the WONDERFUL young woman our Babs is becoming.
PANEL FIVE:
Flashback, the colors of the panel faded. A shot of the front page of a Daily Bugle issue, dated a year and change past. The page is dominated by a large photograph of Jim. The headline reads “HERO COP ARRESTS COMEDY CLUB KILLER.” The subscript reads “Justice Served as Officer Gordon Takes Down Wife’s Murderer.
10 JIM (CAP): But lives are never certain, especially not those of New York COPS.
11 JIM (CAP): I’m so sorry, Sarah. Sorry I couldn’t SAVE you when it COUNTED…
12 JIM (CAP): Sorry I couldn’t put him behind BARS.
PANEL SIX:
Interior. Jim leans against the wall, watching the crows leave the auditorium.
13 JIM (CAP): The trial dragged on a YEAR before ending with an ACQUITTAL due to MISHANDLED EVIDENCE. It’s been a YEAR.
13 JIM (CAP): I still miss you.
12 JIM (CAP): I still LOVE you.
PAGE FIVE
PANEL ONE:
Interior. Long shot of a different gym, with a series of targets set against the wall. A group of preteens stand near the duct-tape line set up 20 feet away, holding bows and arrows, supervised by Roy Harper, a tall man of 18 with shaggy red hair and strong Roman features about the face.
1 CAPTION: THE YMCA/YWCA
2 ROY (CAP): I can’t believe it’s been TWO MONTHS today..
3 ROY (CAP): For me, a lot can- and HAS- happened in the span of two months. I’m still not QUITE SURE how I managed to pull it OFF.
4 ROY (CAP): How I’ve managed to pick up the pieces of my BROKEN life in two months. To SURVIVE. But I have to.
5 ROY (CAP): For LIAN.
PANEL TWO
Interior. Close up of Roy’s face as he twice blows the whistle dangling from his neck.
SFX: BWEET, BWEET!
6 ROY: Approach the line!
PANEL THREE:
Interior. The kids step up to the duct tape line and begin to nock their arrows.
7 ROY (CAP): At 11, my mother had gotten a new BOYFRIEND. It hadn’t mattered much to me either WAY- until he got mom PREGNANT and SKIPPED TOWN.
8 ROY (CAP): At 12, my baby half-sister, LIAN, was born.
9 ROY (CAP): I knew from the moment she entered the world that I’d never be able to breath easy again until I was certain she was SAFE.
10 ROY (CAP): She was my RESPONSIBILITY.
PANEL FOUR:
Interior. Roy again takes his whistle and blows it.
SFX: BWEEEEEEEEEEET!
11 ROY: Fire at WILL.
12 KID: Who’s Will?
PANEL FIVE:
Interior. Close-up of Roy, rolling his eyes.
NO DIALOGUE
PANEL SIX
Interior. Roy patrols the line as his charges fire.
13 ROY (CAP): At 15, one of my friends offered me a hit of POT. I tried it … and it CHANGED my LIFE. And, though I didn’t see it at the time …
14 ROY (CAP): The changes were not for the BETTER.
15 ROY (CAP): At 16, I dropped out of high school. My mom had no TIME for me for trying to scrape up RENT, my friends were DISTANT …
16 ROY (CAP): It became a VICIOUS CIRCLE as I found myself falling FURTHER into the world of DRUGS- eventually finding my drug of choice in HEROIN.
17 ROY (CAP): I’ve done things for DRUGS that would make most people SICK.
PAGE SIX
PANEL ONE:
Interior. Long shot of the gym. Roy blows his whistle three times as the kids start to move.
SFX: BWEET, BWEET, BWEET!
1 ROY: Retrieve arrows!
PANEL TWO:
Interior. Roy watches has his charges take out their arrows and score themselves.
2 ROY (CAP): Two months ago, just a few weeks after my 18th BIRTHDAY, mom was KILLED- mowed down by a DRUNK DRIVER.
3 ROY (CAP): And just like that, it was as though I had woken up from a DREAM.
4 ROY (CAP): Or a NIGHTMARE.
PANEL THREE:
Interior. Roy runs a hand through his hair.
5 ROY (CAP): I filed for custody of Lian, and, by some miracle, I GOT it.
6 ROY (CAP): I couldn’t make rent, but HAD to keep our apartment. It’s ALPHABET CITY, but it’s a ROOF. I needed a SAVIOR. And to my immense luck, I found one—
7 ROY (CAP): --- in OLIVER QUEEN.
PANEL FOUR:
Interior. Roy glances across to another archery shooting line, where Oliver is instructing. Decked in flannel, blond-haired and bearded, Oliver seems to be a loveable lumberjack sort.
8 ROY (CAP): Ollie’s a physical therapist who also works as the manager of the YMCA. He gave me a JOB as an athletics instructor, sometimes making me stay for hours on END watching kids.
9 ROY (CAP): He had me take some classes in TAE KWON DO and ARCHERY- the latter of which I teach now MYSELF.
9 ROY (CAP): But more than a job, Oliver gave me the greatest gift of all- FAITH. He BELIEVES in me. Yes, it’s a struggle, trying to juggle my JOB at the YMCA AND playing a few nights a week with Great Frog in order to COBBLE UP RENT… but I’m making it.
PANEL FIVE:
Interior. Close-up of Roy, who gives an almost-smile.
10 ROY (CAP): For the first time in years… I’m MAKING SOMETHING of myself.
PAGE SEVEN
PANEL ONE:
Interior, the Parker residence. The front door opens as Peter enters the house. Peter is plain, with brown hair and eyes and an average height. He lets his backpack slip from his shoulder to the ground.
1 CAPTION: THE PARKER RESIDENCE
2 CAPTION: FOREST HILLS, NEW YORK
3 PETER: Aunt May, I’m home!
PANEL TWO:
Interior. Peter enters the kitchen, where Aunt May, an older woman with white hair and a wrinkled yet curiously young face, cooks.
4 MAY: Hello, Peter, you’re home late. What kept you?
PANEL THREE:
Interior. Peter sits at the kitchen table.
5 PETER: I stayed in Midtown for a few hours to shoot some PICTURES for the BUGLE.
PANEL FOUR:
Interior. May turns around to smile at Peter.
6 MAY: I’m so GLAD you’re pursuing that PHOTOGRAPHY bug of yours, Peter. You learn a LOT from behind the lens—
7 MAY: - and that scientific MIND of yours won’t get you too many jobs in high school, you know.
PANEL FIVE:
Interior. Peter gets up from the table.
8 PETER: I know. I’d better get UPSTAIRS, I’ve got homework.
PANEL SIX:
Interior. Peter’s back is seen as he exits the kitchen while Aunt May turns back to her cooking.
9 MAY: I’ll call you when dinner’s ready.
PAGE EIGHT
PANEL ONE:
Interior. Roy is standing in the foyer of the YMCA, waiting. A small girl with Asian features- Lian- runs up to him, jumping into his arms.
1 LIAN: Rooooooy!
PANEL TWO:
Interior. Roy sets his sister back on the ground and taking the drawings that are clutched in her hand.
2 ROY: Hey, Lian. Did you MAKE all these?
PANEL THREE:
Interior. Roy kneels down to Lian’s level.
3 LIAN: Yup. There’s one of you ‘n ME, and one of OLLIE, and one with ALI ‘n WILEY ‘n SASHA ‘n LILA.
4 ROY: Well, we’ll just have to put these on the fridge when we get HOME, won’t we?
PANEL FOUR:
Interior. Roy stands back up and takes Lian’s hand, ready to lead her outside.
5 LIAN: Kin I come ‘n see you PLAY tonight, Roy?
6 ROY: I DUNNO, have you been GOOD?
PANEL FIVE:
Interior. Oliver sticks his head out of his adjoining office as Roy puts Lian on his shoulders.
7 OLIVER: She’s been great. … You kids NEED anything before you go? DINNER, perhaps?
8 ROY: Nah, BIBBO will feed us at the tavern. Maybe ANOTHER night, thanks.
9 OLIVER: If you’re SURE. Have a good night, and I’ll see you tomorrow at 3:00.
PANEL SIX:
Interior. Roy, Lian on his shoulders, gives Oliver a jaunty salute.
NO DIALOGUE
PANEL SEVEN:
Interior. Close-up of Oliver’s amused smile.
NO DIALOGUE
PAGE NINE
PANEL ONE:
Interior. Panoramic shot of a popular pizza joint, where Jim, Babs, and Jane are sitting in a booth. Barbara has exchanged her contacts for a pair of glasses.
NO DIALOGUE
PANEL TWO:
Interior. Close-up of Jane as she talks animatedly.
1 JANE: -- and then I said, “That’s no paper towel, that’s my BOOK REPORT!”
PANEL THREE:
Interior. Close-up of Jim’s confused face as Babs and Jane cackle in hysterics.
SFX: HAHAHAHAHAHAHAHAHAHAHAHAHAHAHA-
2 JIM (CAP): I don’t get it.
3 JIM (CAP): … I guess I’m getting OLD.
PANEL FOUR:
Interior. Silence reigns as the president of the computer club, Noah Kuttler comes up to the table. He’s a short boy with large glasses and curly hair that appears to be in a permanent state of frizz.
4 NOAH: Um, hey, Babs.
PANEL FIVE:
Interior. Barbara pulls a lock of hair behind her ear.
5 BABS: Oh, hi Noah, what’s up?
PANEL SIX:
Interior. Close-up on Noah’s face. He is looking nervous and starting to sweat.
6 NOAH: Not much… um… I, I wanted to ask you if we were still on for TOMORROW AFTERNOON… y’know, the computer sciences project? Because—
PAGE TEN
PANEL ONE:
Interior. Close-up of Jane’s face as she sneers.
1 JANE: Hey Kuttler, I’ve got a project for you.
2 JANE: GET A LIFE.
PANEL TWO:
Interior. Both Noah and Babs wince, and Jim frowns.
NO DIALOGUE
PANEL THREE:
Interior. Noah sets his shoulders, turning back to Babs.
3 NOAH: So… tomorrow, then?
4 BABS: Of course. I’ll see you then.
PANEL FOUR:
Interior. Barbara whorls on Jane, finger pointed in anger.
5 BABS: What that REALLY NECESSARY?
PANEL FIVE:
Interior. Close-up of Jane, who looks almost insulted.
6 JANE: What?
7 JANE: Kuttler’s a total DWEEB. Anyway, I’ve got to go, my parents want me home in 20 minutes. Thanks for DINNER, Mr. Gordon.
PANEL SIX:
Interior. Jane walks away woodenly, as Babs stares after her.
8 BABS: (sigh.)
PAGE ELEVEN
PANEL ONE:
Interior. Babs watches as Jane exits the shop.
1 BABS: Would you EXCUSE me a moment, Dad?
2 JIM: Of course, sweetheart.
3 JIM (CAP) I knew she’d go after her.
PANEL TWO:
Interior. Barbara walks over to the corner booth, where Noah is sitting with his laptop.
4 BABS: Hey.
PANEL THREE:
Interior. Close-up of Jim’s shocked face.
NO DIALOGUE.
PANEL FOUR:
Interior. Babs leans against Noah’s chair, talking quietly.
5 BABS: Listen, Noah, don’t WORRY about Jane. She’s been under a lot of STRESS lately, with the CHAMPIONSHIP coming up.
6 BABS: Besides, girls like her… she hasn’t learned to APPRECIATE how SMART guys like you are. You know I love COMPUTERS just as much as you do, and she doesn’t have a problem with ME.
7 BABS: So… just forget about it. Ten years from now, you’ll be the next STEVE JOBS anyway, right?
8 BABS: I’ll see you tomorrow.
PANEL FIVE:
Interior. Close-up of Jim’s incredibly pleased smile.
9 JIM (CAP) Oh, Sarah, you would be so PROUD of her…
PAGE TWELVE
PANEL ONE:
Interior. Panoramic view of a well patronized mid-sized bar and grill. The room, with deep mahogany walls covered in neighborhood memorabilia, has booths along one side and a long bar on the other, the middle space filled with tables. Across the back is a low stage, on which a four-member band is playing. Roy enters the bar, Lian still on his shoulders.
1 CAPTION: THE ACE O’ CLUBS TAVERN.
2 BIBBO: (off-panel) Yo, Roy!
PANEL TWO:
Interior. Roy sets Lian down at a bar stool. Bibbo Bibbowski, the owner and bartender who bares a passing resemblance to Popeye, is fixing a drink for a customer.
3 BIBBO: Crowd’s been WAITING for you, you know.
4 ROY: Well, it’s nice to be LOVED.
PANEL THREE:
Interior. Roy sits down as well as Bibbo turns to Lian, handing off the martini.
5 BIBBO: And a very good evening to YOU, sweets. Shirley Temple, right?
6 LIAN: With extra CHERRIES, please.
PANEL FOUR:
Interior. Bibbo chucks Lian’s chin.
7 BIBBO: Only because you asked so NICELY.
8 BIBBO: I’ll take CARE of her, Roy, you get UP there.
PANEL FIVE:
Interior. Over Roy’s shoulder, we see two members of the band- Wiley Wolverman, the bassist with a blonde buzz cut, and Sasha Martens, the drummer, whose brown hair is pulled back in a ponytail.
9 WILEY: Listen, Sasha. All I’m saying is that you might want to kick it UP a notch. Drums are IMPORTANT, and, well-
10 WILEY: - you’re playing like a GIRL.
11 SASHA: I AM a girl, idiot!
PAGE THIRTEEN
PANEL ONE:
Interior. Now on stage, Roy picks up his guitar and starts tuning it as Wiley and Sasha continue to argue.
1 WILEY: Well, play like a GUY. I’m gonna go get some WATER, I’ll be right back.
PANEL TWO:
Interior. As Wiley walks away, the other members take. Alison Blaire, a sweet-looking girl with long blond hair and blue eyes leans over the keyboard. Lila Cheney, the other guitarist, runs a hand through her short black hair.
2 ALISON: What the HELL was that?
PANEL THREE
Interior. Roy considers his two band mates’ outraged looks.
3 ROY: Uh, guys? Did I MISS something?
4 LILA: “Play like a GUY, Sasha.”
5 LILA: Well, CRY like a GIRL, Wiley!
PANEL FOUR:
Interior. Close-up as Roy grins.
6 CAPTION: Since second grade, this has been Roy’s CREW- his gang of TRUE BLUE.
7 CAPTION: They had started Great Frog in MIDDLE SCHOOL- not knowing a DIMINISHED FIFTH from a hole in the HEAD, and hardly able to play their instruments.
PANEL FIVE:
Interior. Wiley returns to the stage as Roy finishes tuning.
8 CAPTION: They’d drifted terribly when Roy was USING …
9 CAPTION: … but had formed a solid net of SUPPORT when his mother died, bringing the group closer together than they’d ever been.
PANEL SIX:
Interior. Roy approaches the microphone.
10 CAPTION: And all of them but Roy planned on attending EMPIRE STATE UNIVERSITY in the fall.
11 ROY: Evening, everybody. This next song isn’t ours, but we like it, and we think YOU’LL like it, too-
12 ROY: It’s a Ramones song called “Here Today, Gone Tomorrow…”
PAGE FOURTEEN
PANEL ONE:
Interior. Close-up of a vial filled with a translucent yellow liquid.
1 CAPTION: THE PARKER RESIDENCE.
PANEL TWO:
Interior. Peter lays flat on his back on his bed, studying the vial’s contents.
2 PETER (CAP): I HATE mysteries.
PANEL THREE:
Interior. Peter turns his head to see a picture of Uncle Ben- an older man with a bright smile. He waves cheerily out of the photograph.
3 PETER (CAP): Uncle Ben…
4 PETER (CAP): The reason I even BECAME Spider-Man.
PANEL FOUR:
Interior. Peter sits up.
5 PETER (CAP): Ben wasn’t really my uncle.
6 PETER (CAP): I’m not even a PARKER at all.
PANEL FIVE:
Interior. Close-up of Peter’s wistful expression.
7 PETER (CAP): I don’t remember my real family. When I was four my home caught fire…
8 PETER (CAP): Everyone perished except for ME. With no next of kin to speak of, I was put in Social Services.
9 PETER (CAP): Ben Parker, my case worker, ADOPTED me.
PAGE FIFTEEN
PANEL ONE:
Interior. Peter begins to pace his room.
1 PETER (CAP): Every day I think my LUCKY STARS that I had the good fortune to be adopted by the Parkers…
2 PETER (CAP): And every day I regret that I never gave Ben what he deserved before he died…
3 PETER (CAP): … I never called him FATHER.
PANEL TWO:
Interior. Peter runs a hand through his hair.
4 PETER (CAP): When I was younger, I was in denial. I didn’t want to think about my family’s death -—
5 PETER (CAP): So I referred to Ben and May as my Uncle and Aunt.
6 PETER (CAP): Before I knew it, the name had stuck … and I couldn’t call them anything else.
7 PETER (CAP): For years I didn’t think much about it … the blessing the Parkers have given me.
PANEL THREE:
Interior. Close-up of Peter’s clenched fist.
8 PETER (CAP): -- until Ben was stolen from me.
PANEL FOUR:
Interior. Close-up of Ben’s photo.
9 PETER (CAP): He’d been WORKING with a kid—TYRONE JOHNSON. When Tyrone mysteriously VANISHED a few MONTHS ago, Ben went LOOKING for him --
PANEL FIVE:
Interior. Flashback of a group of policemen surrounding Ben’s bloody body on a pier.
10 PETER (CAP): -- and turned up DEAD outside a warehouse on the WEST SIDE for his TROUBLE.
PANEL SIX:
Interior. Shot of Peter’s room from the closet floor. Peter in the background, the foreground dominated by his backpack. Part of his costume’s glove sticks out of a side pocket.
11 PETER (CAP): Ben always told me that with great POWER came great RESPONSIBILITY.
12 PETER (CAP): I became Spider-Man to FIND Ben’s killer. But while I’ve helped many people –-
13 PETER (CAP): -- the only CLUE I’ve GOT on the reason for his murder is this DRUG. An experimental drug that-- supposedly-- Tyrone became INVOLVED WITH.
PAGE SIXTEEN
PANEL ONE:
Interior. Peter stand in the middle of his room, looking at the vial.
1 PETER (CAP): As for what this stuff DOES … who’s SUPPLYING it … and who’s making PROFIT?
2 PETER (CAP): Like I said, I HATE mysteries.
PANEL TWO:
Interior. Close up of Peter’s face as he glances towards his door.
3 MAY: (off-panel) Peter! Dinner’s ready!
PANEL THREE:
Interior. Close up of Peter, eyes closed.
4 PETER: (sigh.)
PANEL FOUR:
Interior. Peter places the vial underneath his pillow.
NO DIALOGUE
PANEL FIVE:
Interior. View from the bed of Peter’s back as he exits the room.
NO DIALOGUE.
PAGE SEVENTEEN
PANEL ONE:
Interior. A desk sits an expanse of black, and the person sitting at the chair is in dark relief, obscuring his face, as he talks to someone on the phone.
1 CAPTION: MIDTOWN.
2 MAN: I want you to INCREASE the potency. Do you UNDERTAND me?
PANEL TWO:
Interior. A close-up of the mystery man’s still-darkened face.
3 MAN: Yes, of course there are SIDE EFFECTS. It’s a HIGH PERFORMANCE formula. You have to take the risks in STRIDE –
4 MAN: -- No, it’s BETTER than cocaine –-
5 MAN: -- Are you QUESTIONING me, doctor?
PANEL THREE:
Interior. Close-up on the mystery man’s mouth.
6 MAN: Are you KIDDING? ADDICTION isn’t a SIDE EFFECT-
7 MAN: -– it’s a FEATURE! We already know it produces a QUALITY HIGH …
PANEL FOUR:
Interior. A shot from behind of the man sitting in his chair. We see he is smoking a cigar.
8 MAN: … No, proceed as PLANNED. I want hard EVIDENCE on THRESHOLD LEVELS in our TEST SUBJECTS…
9 MAN: -- We haven’t seen any FATALITIES, have we? That mean you’re not PUSHING hard enough! I want this started YESTERDAY, understand?
PANEL FIVE:
Interior. The man hangs up the phone.
SFX: CLIK.
PANEL SIX:
Interior. A close-up of the man’s face, now in the light. We see that it is Wilson Fisk- the famed Kingpin. He grins evilly.
10 CAPTION: Aside from a few MINOR SETBACKS…
11 CAPTION: Wilson Fisk was having a GOOD DAY.
PAGE EIGHTEEN
PANEL ONE:
Interior. Wide view of the police station, the room crowded with desks and the wooden walls papered with newspaper clippings, maps and assorted legal documents. From the far side of the room we see Foggy Nelson- a middle-aged man with a gut that shows he’s let go of himself a bit and a case of male pattern baldness- slam the door open, looking ready to give all hell.
1 FOGGY: Where the HELL is Gordon?!
2 TURPIN (CAP): Fantastic. Looks like HURRICANE FOGGY’S just blown in.
PANEL TWO:
Interior. Close-up of Detective Dan Turpin’s face as he pinches the bridge of his nose. Turpin, like Jim, has a weathered look about the face, along with prematurely gray hair.
3 TURPIN (CAP): I’ve been WAITING for this all WEEK.
4 TURPIN: Captain Gordon is at HOME, Mr. Nelson. Can I HELP you?
PANEL THREE:
Interior. Foggy waves his arms around in fury as Turpin gets up from his desk and walks towards him.
5 FOGGY: WHY is there POLICE DETAIL outside Jack Napier’s HOUSE?
6 FOGGY: Need I REMIND you that my client has been ACQUITTED?
PANEL FOUR:
Interior. Another close up of Turpin’s face as he shoots a longing look at his coffee mug, which he left at his desk.
7 TURPIN: Mr. Nelson, I’m sure I don’t know what you’re TALKING about.
PANEL FIVE:
Interior. Foggy points an accusatory finger at Turpin.
8 FOGGY: Don’t TALK to me like I’m a CHILD, Detective. I know a STAKEOUT when I SEE one.
PANEL SIX:
Interior. Wide view of the two men. Turpin’s arms are spread as he explains.
9 TURPIN: We put two BEAT COPS on the corner because there’s been a lot of DRUG activity in the neighborhood. The fact that Mr. Napier LIVES there is a complete COINCIDENCE.
PAGE NINTEEN
PANEL ONE:
Interior. Shot of Foggy, fuming.
1 FOGGY: On behalf of my CLIENT… I have my EYE on you, Detective.
PANEL TWO:
Interior. Wide shot of Foggy leaving in a huff, his back to the reader. The corner of Tuprin’s silhouette can be seen on the fight side of the panel.
NO DIALOGUE
PANEL THREE:
Interior. Extreme close-up on Turpin, so that only his eyes are visible. He glares at Foggy’s retreating figure.
2 TURPIN: And *I* have an eye on your CLIENT.