FREEDOM
FIGHTERS
ISSUE #2/ QUESTIONABLE AUTHORITY (22pgs)
Front cover> The Freedom Fighters in front of the
Liberty Bell, ringing out into the dawn, the inscription
visible on it’s side - “Liberty and Justice for all”
PAGE ONE
Four panels letterbox shots with black borders or altered POV design as the bleed.
Panel 1. Intro. FLIGHT and surreal POV from the BLACK CONDOR’s POV. We
can’t see his body yet, just the ocean from his POV. He’s high above
the Atlantic Ocean with the large burning REILLY oil rig on the horizon in the
middle of the panel, but everything is warped like through a slight WARP filter
or from a bird’s eye POV, the curvature different and light refracting
differently.
NO DIALOGUE.
Panel 2. Still altered POV as a black MEDIVAC helicopter cuts across, a six
seater in the back with the red cross icon on it from behind as he catches up
to it, speeding low across the horizon towards the shore at the right of the
panel. It’s trailing a plume of smoke and the windows are all melted and
smashed.
GROUND CONTROL> CAPTION> ... McCADE, WHAT THE HELL’S GOING ON, ARE
YOU FARTIN’ ROUND AGAIN?
Panel 3. POV of BLACK CONDOR again as he catches up to the speeding, burning
helicopter about a hundred metres away in longshot, maybe from slightly above.
It’s got red cross logo on the side and if we can see inside or through
the bubble cockpit there’s a single pilot with sunglasses on and a military
looking guard with headset and and other guards behind him in the back, all
dead, burnt alive, same as from issue #1.
GROUND CONTROL> CAPTION> ...WE’RE READING A SMALLER BLIP, A SECOND
CRAFT ...WHO’S THAT WITH YOU?
Panel 4. Normal POV for the first time as the BLACK CONDOR speeds to the side
of the helicopter, the beach down below, the shore dotted with large humpback
whales, about a dozen, spaced out and beached all along the shore, though the’re
small and in the background.
GROUND CONTROL> CAPTION> ... COME IN, CHARLIE TWO FOUR...YOU ARE RAPIDLY
LOSING ALTITUDE!
PAGE TWO - THREE
SPLASH/credits: " QUESTIONABLE AUTHORITY" Opens with beached whales
everywhere, still gasping for breath and freshly beached. Double page spread
of penguins and dolphins and whales all beached and oil slicked on the foreshore,
the oil rig burning and smouldering in the far background a few kilometres offshore.
All the marine life in the area is covered in oil from the Atlantic Ocean explosion,
hundreds of millions of litres causing a slick that spreads for hundreds of
miles. Dozens of bathers and passers by are trying to help the beached animals
and getting covered in mud themselves, to no avail. BLACK CONDOR is tailing
along the smoking helicopter, the beached animals on the shore the focus as
BC and the helicopter crash towards us.
BLACK CONDOR> CAPTION> <...THEIR ELECTRONIC CHATTER RAKES THE BACK
OF MY HEAD...>
BLACK CONDOR> CAPTION> <THERE IS A BURNING IN THE SKY...>
BLACK CONDOR> CAPTION> <...A SICKNESS IN THE WATER...>
BLACK CONDOR> CAPTION> <WILL THE HUMANS NEVER LEARN?>
PAGE FOUR
Panel 1. We can see the flames on the helicopter’s side towards the back
fuel tanks as it dips towards the water and goes into a spiral.
S/FX> WHRRRRRRRRRRRR...
Panel 2. Curling his wings around his body BLACK CONDOR goes into a dive head
first, speeding towards us to race the falling copter.
NO DIALOGUE
Panel 3. As it crashes and hits the water BLACK CONDOR dives down from above
and pierces the water after it. DAMAGE and DAN are at the windows, upside down
as the copter is belly up; they’re trapped by the incoming water, drowning.
The pilot is dead in the cockpit if we can see through the windscreen. DAMAGE
still has his energy dampner shackles on his hands, banging them against the
shattered door window.
S/FX> KERRSPLASSH!
Panel 4. From inside the downed helicopter with DAMAGE facing away from us,
cradling the charred DANETTE, up to their knees in water. It’s filling
up quick through the broken windows, as BLACK CONDOR kicks at the door with
his feet, but it’s not budging, bubbles trailing in his wake.
NO DIALOGUE
Panel 5. Close up on the door from outside as he gives it a telekinetic twist,
the door wrenching inwards and popping off it’s hinges. A dead guard, burnt
and charred, floats up, pulled up by the vacuum as the water fills the helicopter.
NO DIALOGUE
Panel 6. Trailing air bubbles still as he grabs DAMAGE and DANETTE round each
arm, BLACK CONDOR heads for the surface far above them, coming towards us. The
ash and burnt covering on DANETTE’s outer skin is washed off by the force
of the water.
NO DIALOGUE
PAGE FIVE
Five panels letterbox shots with black borders.
Panel 1. They break the surface gasping for air with the still smouldering oil
rig far behind them, BLACK CONDOR carrying them with his telekinesis about two
metres above the broken surface, both of them gasping for air.
DAMAGE> HHHUHHHH...
DANETTE> - - GASP - -
Panel 2. He lands on the beach amongst the beached whales and dolphins in
the oil slick still flouncing around, dying on the shore around them and covered
in oil slicks as he lays them both down, the crowd f bathers around them looking
on, everyone in shock. Perhaps from a below shot POV with the dying creatures
in the foreground of the shot, an open eye of a whale or a dolphin caked with
oil in the right hand corner of the panel. DAMAGE still has his energy dampner
hand-shackles on. DANETTE’s looking human again, soft pink skin like a
baby’s with scarring under the tattered remains of her GREENPEACE environmental
suit, crewcut hair almost bald it’s burnt so short.
BLACK CONDOR> ARE YOU ALL RIGHT? I’M SORRY TO PUT DOWN HERE, AMONGST
THE BODIES...
Panel 3. Intro’s between BLACK CONDOR and DAMAGE , who have both met before
when they had their own books in the DCU. We’re looking over BC’s
shoulder, down at DAMAGE on his back looking all washed up, toussled hair and
exhausted, blood trickling from his mouth.
DAMAGE> ...KOFF....AAAKKKHHH...
DAMAGE> AHHH....YOU’RE A LONG WAY FROM OPAL, BUT MAN AM I GLAD TO SEE
YOU...
BLACK CONDOR> ...DAMAGE?
Panel 4. Profile shot of the two of them talking, BLACK CONDOR using his telekinesis
to blast off the energy dampner pods on DAMAGE’s hands. In the background
DANETTE is stirring, she’s alive, raising her head, the dead skin and clothes
and ash that has cinderized around have broken off, revealing her naked, unhurt
form beneath.
DAMAGE> I’M TRYING NOT TO BE, BUT I GUESS I’M NOT DOING TOO WELL...
HEY, CAN YOU GET THESE DAMN THINGS OFF ME?
BLACK CONDOR> WHAT ARE YOU DOING HERE? THAT EXPLOSION - - THOSE MEN...
BLACK CONDOR> THAT WAS A GOVERNMENT CRAFT...
Panel 5. Close up on DAMAGE looking intent, bloodied and bruised as he spits
out a tooth to the sand.
DAMAGE> PHHHWWOOOHHH...
DAMAGE> ...THOSE MEN TRIED TO KILL ME - AND HER... THERE’S MORE TO THIS
THAN THERE SEEMS…
PAGE SIX
Four panels letterbox shots with black borders. Panel 1. Cut to the beach beside
them where DANETTE lies writhing in a critical condition, the outer burnt layer
almost all fallen off to see her skin underneath, covered strategically by the
remaining GREENPEACE environment suit she was wearing. Burn marks to only 60%
of her body yet she’s remarkably okay, new skin regrowth. Crewcut hair
and wet and drenched and washed up, a Liv Tyler face, vulnerable look in her
eyes. Moreover, her paragene has been activated - flame generation and control.
There’s been some genetic therapy/shearing going on. The explosion triggered
what her genes had been altered to bring on - her hereditary fire metagene.
DANETTE> HHURRRHHHH...
DAMAGE> DAN!
Panel 2. He leans in to hold her and we see her face in close up, with the horrible
burns all over her as she blinks up at him through half closed eyes. Her hair
is very short - a number one crewcut, red smeared with ash; beautiful but vulnerable,
Liv Tyler like. She’s crying, just crying, it’s all to much...
DANETTE> GRANT...
DANETTE> ...I CAN’T TAKE THIS...PLEASE... TELL ME WHAT’S HAPPENING?
Panel 3. As she wakes up, flaming beauty...and starts to panic... arms flinging
out, flames licking into life all around her, with DAMAGE still holding her,
his power absorbing the heat.
DANETTE> ...THOSE MEN...THE PAIN...I- - I DIDN’T MEAN TO...AHHHEERR....
DANETTE> OH GOD, WHAT THE HELL IS HAPPENING TO ME?
Panel 4. She’s freaking out, bawling here eyes out and DAMAGE is holding
onto her and absorbing her flames, his own energy signature flaring.
DAMAGE> SSSHHHH. IT’S OKAY, SEE, I KNOW WHAT THIS IS LIKE, DON’T
WORRY.
DAMAGE> JUST HOLD ME, OKAY? IT’LL ALL BE OKAY, I SWEAR.
Panel 5. The flames are absorbed by DAMAGE, looking up at BLACK CONDOR intently
over DANETTE’s shoulder as she hugs him and calms down.
DAMAGE> ...JUST HOLD ME...
PAGE SEVEN
Panel 1. BLACK CONDOR turns and walks away a bit to give them some space,
walking amongst the crying and shocked crowd trying to help the beached whales
and dolphins and finds a dead 6 feet high sperm whale with a barking dog yipping
at it in the foam... The whole beach is covered in an oil slick, penguins covered
in oil and dead, dolphins and this anomalous shrunken sperm whale.
BLACK CONDOR> CAPTION> <THE SKY IS BURNING, THE EARTH IS SICK. THE
ANIMALS ARE...>
Panel 2. From his altered POV again in close up. He’s crouching in the
sand, picking up an even smaller 6 inch shrunken whale that has the metagene
in one hand flapping about as it dies - Doll Man’s shrinking power - a
miniature whale that washes up dead on the shore. BLACK CONDOR’s working
for PHANTOM LADY, they’ve been networking together since their time together
in Opal, they’re lovers. He was checking up on that lead she gave him to
follow.
BLACK CONDOR> CAPTION> <... SHRINKING?>
Panel 3. Cut to satellite surveillance footage of him holding the shrunken whale
in his hand, looking up at the sky. The FBI are watching him, amassing a file.
They’re worried about superhuman NGO’s forming as revolutionary cells,
which is why they’ve tried to frame the FREEDOM Network as metahuman activists
before they even form.
BLACK CONDOR> DAMN. IT LOOKS LIKE SHE WAS RIGHT. AGAIN.
Panel 4. Pull back to see the satellite in space, in geosynchronous orbit over
the Maine coast, a flash of light reflecting off it’s camera as it turns.
CAPTION> TRACKING SYS>>
>48* 13’ N
>67* 40’ W
>SUBJECT>>> BLACK CONDOR>
>CONFIRM.
Panel 5. Switch to see shadowy military man on the other end of the satellite
footage lit by the neon of dozens of screens hanging above him, the darkened
interior of a Norad like control room.
GENERAL> CAPTION> ...THAT’S RIGHT. THE COVER STORY IS COMPROMISED.
WE HAVE A SITUATION...
PAGE EIGHT
1 page tripped out sequence with Uncle Sam through history, a warped fever
dream of wars and bloodshed. All the figures are warped and misshapen. No panel
borders but a mosaic of images all morphing into one another at the edges. SAM’s
bonded with the new reformed American Spirit but we’re not going to explain
his backstory/origin until the last story arc. Panel 1. War of Independance...
CAPTION> WE MUST FIGHT FOR THE SAKE OF LIBERTY FROM OUR BRITISH OPPRESSORS...
Panel 2. Indian war...
CAPTION> ...THE INDIANS ARE TAKING OUR LAND. WE MUST PROCURE IT.
Panel 3. American Civil War...
CAPTION> “A HOUSE DIVIDED AGAINST ITSELF CANNOT STAND”
Panel 4. Spanish-American War 1890’s...
CAPTION> ... THREATENING OUR FREEDOMS ABROAD...
Panel 5. To his mystery man days in the 40’s with the original Freedom
Fighters against Nazis.
CAPTION> ...A GREAT EVIL HAS ARISEN THAT THREATENS THE PEACE OF THE WORLD...
Panel 6. In the 50’s was Korea, American GI’s killing the natives...
CAPTION> "COMMUNISM! COMMUNISM! THEY WANT TO TAKE OVER YOUR COUNTRY!
YOUR CHURCH! THE WORLD!”
Panel 7. Then Vietnam, tripwires in the jungle, black afroed Americans, drugged
out soldiers in camo gear with a machine gun shooting into the crowd, the naked
child running towards us...
CAPTION> ...AMERICA HAS AND WILL GO TO WAR TO PROTECT HER FOREIGN INTERESTS
ABROAD…
Panel 8. Reagan, all the grey wars. Black Helicopters in Central American countries,
coming over the rice fields...
CAPTION> …AS WELL AS KEEP THE FLAME OF LIBERTY AND DEMOCRACY ALIVE IN
THOSE PARTS OF THE WORLD WHERE THEY ARE THREATENED...
Panel 9. Grainy media footage of the aeroplane going into the World Trade Centre
buildings...
CAPTION> ...WE MUST PROTECT OUR ECONOMY NO MATTER WHAT THE COST..
PAGE NINE
Panel 1. RAY’s in the kitchen making coffee with a jug in his hand in the
open kitchen that adjoins the lounge, the kettle steam. It’s a tight shot
on his middle torso holding the coffee pot, drawn blinds in a modestly furnished
apartment...
SAM> HUUURRGHH...!
RAY> ...WAKEY WAKEY, SUNSHINE...
Panel 2. SAM wakes to find PHANTOM LADY and RAY at a safehouse belonging to
his girlfriend, Jenny. Interior art deco type flat, polished wooden floorboards,
large potted plants hanging from the high ceiling rafters of this penthouse
type flat. A couch and chairs, old 40’s style, glass coffee table in the
centre, shag pile throw rugs on the ground, some framed post modern art on the
wall. Expensive.
SAM> JESUS, WHAT TIME IS IT? WHERE AM I? LAST I REMEMBER THOSE...FEDS IN...ROBOT
SUITS...?
RAY> IT’S ALL RIGHT, TAKE IT EASY, DUDE. IT’S AFTER MIDNIGHT. WE’RE
AT MY GIRLFRIEND’S PAD DOWNTOWN. YOU WERE IN A FIGHT...
Panel 3. RAY’s floating just above the floor, tight shot of his legs above
the ground about a foot, walking on air leaving light footprints behind him
as he hands SAM a coffee on the couch and he accepts it. He’s dressed in
his tattered red white and blue combat fatigues, and vest.
SAM> YOU’RE...WALKING...ON AIR...
RAY> AND YOU SURVIVED A GOVERNMENT MECH-AGENT BLASTING YOU WITH A SECOND
GENERATION DYSON PORTABLE LASER. WELCOME TO THE WACKY WORLD OF THE METAHUMAN.
Panel 4. Sam’s looking down into the coffee, sipping it. He’s looking
battered and tired, yet strong.
CAPTION> TARNATION, I FEEL LIKE A MONTH OF SUNDAYS. WHY…
Panel 5. PHANTOM LADY is sitting on a rounded art deco chair in the corner.
She has her coat off and her smartsuit powered up, lights up the side letting
her and us know how charged the suit is, sitting in a sexy pose. She’s
on a portable laptop that folds out of her smartsuit, tapping away at a keyboard
on her arm pad and looking up at a holographic screen. She turns to look at
SAM and RAY as they talk.
PHANTOM LADY> AMERICA NEEDS ENEMIES, SAM, YOU KNOW THAT. AND NOW THE PEOPLE
HAVE BECOME THE PREY.
PAGE TEN
Panel 1. RAY hands her a mug of coffee with a DILBERT figure on it and smiles
at her flirtatously as she smiles back, accepting the cup, their hands brushing
together. Same lighting as before but RAY’s giving off a mild shimmer that
changes the area around him with the colorist showing this each panel as he
walks on air in the darkened apartment. Digital holographic files and photos
hanging in the air.
PHANTOM LADY> TO BRING YOU UP TO SPEED: AT APPROXIMATELY 20:02 HOURS LAST
NIGHT THREE DEO EXO- MECH AGENTS RAIDED THE OLD BUTTON FACTORY AND YOUR ANTI-GLOBALIZATION
MEETING.
PHANTOM LADY> THEY HAD A WARRANT.
Panel 2. Close up on PHANTOM LADY looking beautiful, surrounded by digital file
overlays and logos, holographic internet access on the couch as she sips her
coffee straight on, defined cheekbones.
PHANTOM LADY> SEEMS THE FREEDOM NETWORK CLAIMED RESPONSIBILITY FOR A TERRORIST
BOMBING OF AN OFFSHORE OIL RIG LATE YESTERDAY TO PROTEST ENVIRONMENTAL ISSUES.
SAM> THAT’S BULLSHIT! WE DON’T SUPPORT UNPROVOKED VIOLENCE AND
WE’RE NOT TERRORISTS.
Panel 3. SAM gets to his feet, looks around. Big Bay window and it’s raining
outside, late evening. SAM’S up and looking out the window , peering through
the blinds as he digs a rollie cigarette out of his vest pocket. Philadelphia
landmark in the distance - the Amtrak Station at 30th St in the University District
.
SAM> THEY RAZED THE BUTTON FACTORY BECAUSE THEY FEAR THE PEOPLE COMING TOGETHER
- ONLY TIME THEY LIKE THAT IS WHEN PEOPLE ARE SHOPPING, OR PAYING FOR ENTERTAINMENT.
Panel 4. SAM as he rolls a joint between the fingers of both hands as he smiles,
RAY behind him closing the blinds.
RAY> MAN, DO YOU ALWAYS SOUND LIKE A SOUNDBYTE?
SAM> COMES WITH THE JOB. WAS ANYBODY HURT?
Panel 5. PHANTOM LADY gets up from the chair and faces SAM head on at the window
as he lights the joint.
PHANTOM LADY> A FEW PEOPLE HAD A WALL FALL ON THEM, BUT NO ONE WAS KILLED.
BUT THAT ISN’T THE POINT. THEY WEREN’T AFTER A FEW ANTI-GLOBALIZATION
ACTIVISTS, WERE THEY, SAM?
SAM> WELL YOU’D KNOW, WOULDN’T YOU? NICE THREADS, BY THE WAY. YOU
FBI?
PHANTOM LADY> CIA. MY TAG’S PHANTOM LADY. I’M ON LIASON TO THE
DEO. LOW INTENSITY OPERATIONS, DIVIDE FROM WITHIN, ALL THAT JAZZ. BUT THIS IS
ABOUT YOU:
PAGE ELEVEN
Panel 1. SAM lights the joint and takes a big toke, PHANTOM LADY looking on,
one hand manipulating the trackpad on her arm controls to trigger a holo file
to come up, overlaping his real image there, but he’s younger in the photo,
short hair and no dreads.
PHANTOM LADY> YOUR NAME IS SAMUEL ABRAHAM JACKSON. YOU WERE RELEASED FROM
A CALIFORNIA STATE PRISON FOUR YEARS AGO AFTER A STINT FOR MARIJUANA POSSESSION.
PHANTOM LADY> YOU TESTED POSITIVE FOR THE METAGENE WHEN THEY TOOK YOUR DNA
SAMPLE ON ARREST; THE DEO’S HAD YOU ON FILE EVER SINCE. GETTING INVOLVED
WITH THE FREEDOM NETWORK HASN’T EXACTLY HELPED YOUR PROFILE ANY, EITHER.
Panel 2. SAM exhales smoke in PHANTOM LADY’s direction, stares her down.
Smoke curling through the holographic file displays that flicker around her,
disrupting it.
SAM> I DUNNO, WHEN YOUR OWN GOVERNMENT TRIES TO KILL YOU MUST BE ONTO SOMETHING.
JUST LOOK AT JFK.
Panel 3. Phantom Lady unveils her data-banks - holographically projecting the
contents into the air from her I-visor, one hand up to the visor and operating
it. Telecommunications Implants in her head. Standing there looking sexy in
her full body smartsuit threaded with technology, data overlays over her form.
PHANTOM LADY> LOOK. I WAS TASKED TO IDENTIFY AND INFILTRATE A NUMBER OF RADICAL
NGO’S, INCLUDING THE FREEDOM NETWORK, AND DETERMINE IF THERE WAS FOREIGN
FUNDING BEHIND THEM. IT WAS MY OPINION THERE WAS NOT.
PHANTOM LADY> IN THE DOZENS OF ANTI-WAR, CIVIL RIGHTS AND ENVIRONMENTAL GROUPS
I JOINED, THERE WAS NO EVIDENCE THAT THESE WERE ANYTHING OTHER THAN A SPONTANEOUS
AND INDIGENOUS MANIFESTATION, WITH NO OBSERVABLE CONTACT BETWEEN GROUP LEADERS
AND ROGUE STATES.
Panel 4. SAM’S lifted his arm up, holding out the joint to RAY, who’s
sitting, legs crossed, floating just above the couch at SAM’s head level,
glowing brightly now in the dimly lit room, still dressed in his white t-shirt
and cargo pants, looking immaculate, sipping his coffee. He shakes his head
‘no’, looking upset he’s even been offered it.
SAM> THAT’S WHAT THE AUTONOMOUS WEB OF LIBERATION’S ALL ABOUT,
SISTER. PEOPLE POWER FROM WITHIN. YOU WANT SOME OF THIS?
RAY> NO THANKS, DON’T POISON MY BODY...
SAM> SUIT YOURSELF.
Panel 5. ...Cut to the DART team gathering outside while they’re talking
The DART team’s in position. In the night we can see silhouette outlines
of four figures like a trick of the light. The doors to the apartment building
are opening and leaves are blowing in the backswing of the doors as the invisible
DART team enter.
SAM> CAPTION> LISTEN, YOU’RE BOTH SORE BECAUSE YOU’RE CAUGHT
ON MY SIDE OF THE FENCE NOW.
SAM> CAPTION> I RECKON SOMETHING IN THOSE FILES YOU’VE AMASSED MAKES
YOU DANGEROUS, DOESN’T IT? THAT’S WHY THEY’RE HITTING OUT.
Panel 6. SAM jumps back on the couch and exhales, looking relaxed and pleased
with himself.
SAM> SAM> CAPTION> THAT’S WHY YOU NEED YOUR UNKLE SAM...
PAGE TWELVE
Panel 1. Medium reaction shot on the RAY, shouting, hovering over him and
forming a mini-fan from solid light, melting from his fingertups, his body lit
up like a neon sign, like an angel that can’t touch the ground.
RAY> OH, PLEASE! DON’T GIVE ME THIS ‘UNCLE SAM’ BIT. YOU EXPECT
ME TO BELIEVE THE SPIRIT OF AMERICA WOULD DOWNLOAD IN A DOPE SMOKING, POLITICAL
REVOLUTIONARY LIKE YOU, JACKSON? HA, GIVE ME MORE CREDIT, MAN!
Panel 2. Close up on SAM, exhaling smoke rings, his eyes narrowed and heavy,
looking very noble and stoned at the same time.
SAM> THE SPIRIT OF AMERICA IS ABOUT FREEDOM, SON. FREEDOM OF RELIGION, LIBERTY
AND STATE OF CONSCIOUSNESS INCLUDED.
Panel 3. Elevator doors open up, the floor number, 6, flashing above, but there’s
no one in there. Wet footprints are trailing out of the elevator, though, up
the hall...
SAM> CAPTION> ...DON’T FALL FOR THE HYPE, RAY. YOUR DAD NEVER DID.
Panel 4. Head and shoulders shots of RAY and SAM talking, RAY on the defensive.
RAY> NUH. UH-UH, I DON’T WANNA TALK ABOUT THAT BASTARD! HE’S DRAGGED
ME INTO ENOUGH TROUBLE ALREADY…
I’M NOT BUYING INTO THIS, JACKSON. AND ANYWAY, THE BOND GIRL OVER THERE
AND I FOUGHT WITH A DUDE NAMED THE PATRIOT WHO CLAIMED TO BE THE SAME THING
AS YOU...
Panel 5. PHANTOM LADY hits the holographic display on her wrist control pad
unit and we see a static fuzzy picture of the old Uncle Sam projected into the
air before them in the loungeroom, a 40’s Will Esiner style shot with a
flag holo backdrop flying proudly behind him. PHANTOM LADY> HOLD UP, TERRILL.
THE DEO HAVE SOME INTERESTING FILES THEY INHERTED FROM THE OSS AFTER WORLD WAR
TWO. SEEMS A CERTAIN FLAG WAVING ‘MYSTERY MAN’ WAY BACK THEN WENT
BY THE MONICKER OF ‘UNCLE SAM’.
PHANTOM LADY> HE, OR A SERIES OF OPERATIVES USING THAT CODENAME AND IDENTITY,
HAVE BEEN SPOTTED THROUGH THE YEARS AT CERTAIN KEY JUNCTURES… MOST RECENTLY
IN METROPOLIS…
Panel 6. . Binocular/visor type frame to the panel, we’re looking from
the tech augmented POV of DART CONTROL. Internet control like icons and options
over their field of vision. It’s TYLER’s own DART TEAM turned against
her. They’ve got the same technology as she does - black light projectors
and smartsuits, black technology. They’re sniffing round looking for clues:
Close up on a padded hand and arm on the doorknob as it turns visible...
PHANTOM LADY> ...AND JACKSON’S METAHUMAN STRENGTH AND INVULNERBILITY
DO FIT THE PROFILE...
PAGE THIRTEEN
Panel 1. Large panel. From the DART TEAM’s POV. The door slams open as
they enter the room invisibly, from their augmented senses pov. The RAY, SAM
and PHANTOM LADY are present, overlaid with heat signals and data points boxes
showing information on them. RAY’s hovering over the couch, energy swarming
off him in the UV spectrum. SAM’s on the couch, looking up as the door
breaks open, overlaid with heat trails, too, dropping his joint. PHANTOM LADY
ducks into a roll, sensing danger and turning invisible like the rest of the
DART team and we see her fading away in her smartsuit, heat trails visible only
on her upper, un-faded torso....
DART CONTROL> CAPTION> ...GROUP INTRANET SYNCHRONIZED...THE SPOOKSHOW
IS ON-LINE AND UNDETECTABLE...
SPOOKY> (no tail) OH, TYLER....
BOO> (no tail) YOU’VE BEEN A BAD GIRL, HAVEN’T YOU...
FATSO> (no tail) WE’RE HERE TO RATTLE YOUR CHAIN, TYLER...YOU AND YOUR
NEW FRIENDS...
CAPTION> TARGET: TYLER, DEE, SPECIAL AGENT COUNTERINTELLIGENCE, DIGITAL ANALYSIS
AND RETRIEVAL TEAM> SUSPENDED. CAPTION> TARGET 2: JACKSON, SAM, SEE FREEDOM
NETWORK, FILE X-133. WANTED, TERRORISM.
CAPTION> TARGET 3: TERRILL, RAY, REGISTERED METAHUMAN. SEE FREEDOM NETWORK.
WANTED, TERRORISM.
SAM> WHAT THE FUCK IS GOING ON HERE?
Panel 2. From normal POV as the four DART operatives ‘ghost’ the
room in their smartsuits. All the loose objects are moving around like ghosts
are in there in the centre of the storm. SAM is looking around bewildered, jumping
off the couch, RAY has his back turned to SAM and is facing the other direction,
powered up and floating feet first above the floor, no fin or full jacket costume,
his face showing, determined.
PHANTOM LADY> CAPTION> (no tail) WE’RE BEING GHOSTED, TAKE COVER!
RAY> ...OH GREAT. IT NEVER RAINS, IT POURS...
Panel 3. The ‘ghosts’ are swirling around SAM as he punches out at
thin air, missing them, his dredds swinging as he lunges forward. Whatever Photoshop
filter we’re using we can see form blurring like the backgrounds around
him.
PHANTOM LADY> (no tail) IT’S LATEST ISSUE BLACK OPS SENSEWEAR. BIO-GROWN
NANO SENSORS MAKE THE WEARER RADAR INVISIBLE AND MASK ALL EXO-MORPHIC NOISE...
Panel 4. The RAY lets off light directly from his body in a flash that obscures
his face and front torso as the silhouette of an agent is seen, caught for a
split second as it blends into the new brighter background, lit up with light
warping around it.
PHANTOM LADY> (no tail) ...WHILST BLACK LIGHT OPTICS THREADED THROUGH THE
SUITS WARP LIGHT.
Panel 5. From PHANTOM LADY’s POV as we see what she’s seeing: extra
sensorary digital information that lets her pinpoint the outlines of the agents
in the room as well as incoming data . CAPTION> TARGET #1> INTRANET FIREWALL
CODES CONFIRM>
PHANTOM LADY> (no tail) SAM, SPOOK TO YOUR LEFT, EIGHT O’CLOCK POSITION,
NOW - -
PAGE FOURTEEN
Panel 1. Normal POV. SAM hits out and grabs a blurred form melting from the
backgrounds by the neck.
SPOOKY> UGHHHH!
SAM> TURN OFF YOUR SPOOKSUIT OR I START TO SQUEEZE...
SAM> ...DO IT!
Panel 2. As SAM looks on and smiles, the DART AGENT starts to become half visible,
from the waist up shot, in a smartsuit like PHANTOM LADY’s but different
cut and layout of the tech; modular design.
SPOOKY> PUT ME DOWN, YOU DUMBNUT!
SPOOKY> WE HAVE FILES ON YOU, ALL OF YOU. WE KNOW YOUR STRENGTHS, YOUR WEAKNESSES,
YOUR FRIENDS AND FAMILY. THE GOVERNMENT HAS PLANS FOR YOU METAHUMANS...
SAM> YEAH? SOUNDS JUST LIKE TAX TIME.
Panel 3. Another member of the DART team is chameloning across the back wall
like ghosts as PHANTOM LADY fades half back into view, now covered in the classic
40s style PHANTOM LADY one piece yellow bathing suit and doing a karate high
kick and connecting with the blurred DART agent, sending him reeling backwards.
PHANTOM LADY> THE BLACK LIGHT OPTICS CAN ALSO PROJECT HOLOGRAMS OVER THE
SMARTSUIT’S SURFACE, TOO. ALL A LEGACY OF THE ORIGINAL PHANTOM LADY APPROPRIATED
IN THE INTERESTS OF NATIONAL SECURITY, ISN’T THAT RIGHT, FATSO?
FASTO> UGGGSHH!!!
Panel 4. Battling the DART TEAM. PHANTOM LADY in close up as she pins FATSO,
the DART agent beneath her, poised like a tiger above him and pinning down the
blurred shape as she regains full visibility herself, the yellow bathing suit
melting/morphing into the new smartsuit design with full face and hair latex
covering for full invisibility that’s half visible across her face, like
an S&M mask.
PHANTOM LADY> YOU’RE NOT A COMBAT UNIT, CONTROL. DART IS STRICTLY A
DIGITAL ANALYSIS AND INFORMATION RETRIEVAL TEAM. YOU’RE NOT HERE TO KILL
US...
Panel 5. PHANTOM LADY in close up on her head and shoulders or close face as
she leans in and interrogates the DART CONTROL agent, her face and hair mask
morphing away to reveal her face like it’s alive and organic. She’s
beautiful, poised, her big Dragonfly like bubble OPTIC glasses hiding her eyes.
PHANTOM LADY> ... SO WHAT THE HELL ARE YOU DOING HERE?
Panel 6. Close up on the hand and wrist control pad of CONTROL in the foreground
of the left side of the panel as he fades into view in front of PHANTOM LADY,
on top of FATSO in the background.
CONTROL> CAPTION> SPOOKSHOW, THIS IS CONTROL, STAND DOWN...
PAGE FIFTEEN
Panel 1. From PHANTOM LADY’s POV or over her shoulder. DART CONTROL helps
FATSO up by the arm as the fourth DART team member, BOO, fades into view behind
the RAY, hands folded fingers pressed together like he could’ve attacked
any time he wanted but he didn’t. They’re fully visible now and looking
very hi-tech in their smartsuits.
CONTROL> LOOK TYLER, HERE’S THE DEAL: WORD FROM THE HILL IS YOUR BOY
SAM HERE AND HIS LITTLE ORGANIZATION ARE TAKING THE FALL FOR A BOTCHED BLACK
OPS.
PHANTOM LADY> WHAT TYPE OF OP?
CONTROL> BIOLOGICAL IS ALL I KNOW. I CAN’T DIG TOO DEEP MYSELF LEST
I RUFFLE A FEW FEATHERS AND END UP WITH MY ASS ON A WIRE LIKE YOU.
Panel 2. SAM’s let go of SPOOKY who sneers at him as he drops to his feet
again, rubbing his neck and joining CONTROL and the rest of the DART team.
CONTROL> THERE’S BEEN A LOT OF RESHUFFLING GOING ON IN THE DEPARTMENT
- ALL GOVERNMENT DEPARTMENTS - AND IT’S NOT JUST THE LUTHOR ADMINISTRATION
MAKING WAR TIME CHANGES, EITHER.
Panel 3. Close up on CONTROL talking, a number of holo icons and files floating
around him in his smartsuit and visor.
CONTROL> DATA THREADS WE HAVE BEEN PRIVY TO POINT TO LARGE SCALE MANIPULATION
OF KEY INSTITUTIONS WITHIN THE UNITED STATES GOVERNMENT AND THE BUYING OF KEY
PERSONNEL.
CONTROL> TO PUT IT IN SIMPLE TERMS: ELEMENTS WITHIN THE UNITED STATES GOVERNMENT
HAVE SEIZED POWER FOR THEIR OWN INTERESTS, A SHADOW CABAL IF YOU WILL, DIRECTING
THE WAR FOR PROFIT AND INCREASED CONTROL OF THE CIVILIAN AMERICAN POPULACE .
Panel 4. CONTROL with holographic overlay map and binary code filling the panel
in overlay, a glint in his eye in extreme close up.
CONTROL> AN INFORMATION WAR IS BEING ENGAGED RIGHT NOW BY LOYAL AMERICANS
WITHIN THE CORRIDORS OF POWER, BUT TO FIGHT THE ENEMY WE MUST BECOME ONE WITH
IT, USE THE SAME TACTICS. THAT’S WHY YOU’RE STILL ALIVE.
Panel 5. He’s fading away; they all are, facing us and fading into/becoming
the backgrounds.
CONTROL> WE WANT AGENTS OUT HERE ON THE EDGE OF CHAOS THAT CAN HELP WIN THIS
WAR WITHOUT OUR ENEMIES DOUBTING AMERICA’S UNITED FRONT.
CONTROL> WE’LL TALK AGAIN, AGENT TYLER, WHEN YOU HAVE MORE DATA FOR
US...
Panel 6. Empty room as SAM, RAY and PHANTOM LADY look on.
CONTROL> (no tail) ...UNTIL THEN...LOOK FOR US IN THE SHADOWS…
PAGE SIXTEEN
Panel 1. Close up of a tv screen shaped panel and an establishing shot from
a news helicopter of the burning REILLY oil rig from issue #1, with ATLANTIC
OIL RIG BOMBING captions over the screen. The text is in a separate caption
box:
CAPTION> TERRORISTS MELT AWAY> THE FBI ARE SEARCHING FOR TWO FREEDOM TERRORISTS
WHO VANISHED AFTER DESTROYING THE REILLY DELTA OIL RIG IN THE ATLANTIC YESTERDAY,
CAUSING MASSIVE AMOUNTS OF ECOLOGICAL DEVESTATION....
Panel 2. TV screen panel border as the news presenter talks, a mid thirtish
woman anchor, power suit and shoulder length hair, puritan look, concerned.
NEWS PRESENTER> ...THE OIL SLICK FROM THE BLAST CONTINUES TO SPREAD ALONG
THE MAINE COAST, KILLING HUNDREDS OF FLATHEAD WHALES AND DOLPHINS WHOSE MIGRATORY
PATTERNS TRACK THROUGH THE AREA...A WARNING, THE FOLLOWING FOOTAGE MAY UPSET
SOME VIEWERS...
Panel 3. Cut to Corporate meeting of REILLY CORP with CEO Rod Reilly, the
Rockerfellerian villain of the piece. The lights go up and we’re in a corporate
board meeting, an emergency session of the board, ROD REILLY at the head of
the table standing in front of the giant bank of twelve flat lcd screens the
news is being broadcast on,
on a commanding angle, partially silhouetted by the wall screens behind him.
The screen is folding back into the wall unit into an opening. REILLY’s
wearing a black Italian business suit and tie with a tiny REILLY CO logo clasp
on it, the flaming torch, handkerchief in top pocket; classic old style businessman.
ELLIS> MR CHAIRMAN, THIS IS A DISASTER FOR PUBLIC RELATIONS...
REILLY> DON’T WORRY, BOB, OUR SPIN DOCTORS HAVE LAID THE GREENWASH TRAILS
ALREADY. WITH A FAILING RIG NOW A TAX WRITE OFF, THE Q4 PROJECTIONS WILL BARELY
REGISTER A DIP...
REILLY> IN THE MEANTIME, I WANT OUR PR TEAM TO ISSUE AN APPROPRIATE COUNTER
RESPONSE TO THE MEDIA:
Panel 4. The Chairman, ROD REILLY, turns to look at the others. REILLY’s
unshakable, the perfect optimist - it’s more efficient. All - American
Ronald Reagan in control of the saddle type of old style charisma. Rod is DANETTE’s
grandfather and was the first Firebrand, a WW2 ‘mystery man’ and millionaire
playboy dilletantte. Her grand aunt was DANETTE Reilly, Rod’s sister, who
became Firebrand II with fire powers triggered during WW2. He’s in his
80’s but looks like he’s in his early 50’s, very robust and healthy,
moustache, square chin, classic mystery man physique, broad shoulders and neat
white hair, classic Italian suit.
REILLY> ...AMERICAN OIL INTERESTS WILL NOT BOW TO TERRORIST PRESSURE.
REILLY> WE REGRET THE OIL SPILL AND THE LOSS OF MARINE LIFE ALONG THE MAINE
COAST BUT WE WILL ENDEAVOR TO KEEP PETROL PRICES AS LOW AS POSSIBLE FOR THE
AMERICAN MOTORIST.
Panel 5. REILLY stands up and dismisses the board meeting, everyone rising.
MAX, a stern looking man with round frame glasses, accountant or lawyer look
to him.
REILLY> ALL RIGHT. GOOD JOB, GENTLEMEN. MEETING ADJOURNED.
REILLY> MAX, IF I COULD HAVE A WORD TO YOU ABOUT THOSE PATENT REPORTS?
PAGE SEVENTEEN
Panel 1. REILLY and MAX leave the board meeting in the ultra-hi-tech building
where everything’s ubiquitous computing and networked together. A long
futuristic tunnel like hallway. He’s being trailed by his assistant CEO
who’s writing in his personal organizer as he walks. They head towards
his office through the lobby, passing other suits and business people in the
very futuristic designed space, open and minimalist with the walls lighting
ambiently on their own accord and a genetically modified large plant in the
lobby, like a metal Venus Fly Trap. Everything’s sterile and metallic,
futro Art Deco like organic curves to the furniture and reception desk. REILLY’s
lighting a cigar as he goes.
ROD> RIGHT, ENOUGH CORPORATE DENIABILITY. WHAT’S THE REAL SITUATION
WITH THE RIG?
GILSINGER> THE BIO-WASTE HAS BEEN FLUSHED AND HIDDEN BY THE OIL SLICK AND
THE NEGATIVE PRESS DETOURNED AGAINST A LOCAL ANTI-GLOBALIZATION NGO. QUITE A
CLEAN LOOP, IF I DO SAY SO.
Panel 2. Outside his office and in the foreground the security system’s
camera is alight and sending out a laser beam that connects with his eye, iris
scanning his identity.
REILLY> HUH. NOW IF THE MILITARY CAN JUST KEEP UP IT’S PART OF THE BARGAIN,
GODDAMN INCOMPETENTS! BIGGEST BUDGET SINCE THE COLD WAR AND THEY CAN’T
EVEN FIND MY GRANDAUGHTER...
Panel 3. They enter his office, a large open space with almost full bay windows
ceiling to floor along two walls. The desk is flat and shimmering like a screen,
a computer-desk, all black and shaped like a manta ray, organic. High ceilings
with pod like lamps hanging in clusters from the ceiling on thin stalks. REILLY’s
puffing on the cigar as he leans on the edge of the desk and talks to Gilsinger
GILSINGER> SHE SURVIVED, I TAKE IT?
REILLY> YOU’RE DAMN RIGHT SHE DID! SHE’S PROOF POSITIVE THAT THE
RETRO-VIRUS CAN CROSS THE GENOME BARRIER, BUT THAT’S NO GOOD IF WE CAN’T
FIND HER...
GILSINGER> VALUABLE PATENT TO BE ON THE LOOSE, CERTAINLY...
Panel 4. REILLY’s facing the window overlooking the city, exhaling cigar
smoke. GILSINGER’s beside him getting something out of his briefcase on
the desk, hands him a jar with a tiny form within it.
GILSINGER> BUT THE EMBRYONIC STEM CELL RESEARCH AT OUR S.T.A.R. LABS SUBSIDARY
MAY PROVE EVEN MORE PROFITABLE THAN WE ORIGINALLY EXPECTED. IF YOU’D LIKE
TO TAKE A LOOK...
Panel 5. Close up on a tiny malformed fetus-man in the jar of amniotic fluid.
REILLY> AH, YES, THE GENIE IN THE BOTTLE, HEY? JUST WAITING TO BE UNLEASHED...
PAGE EIGHTEEN
Panel 1. Establishing longshot. Opens at dawn, slightly bottom up shot of
PHILADELPHIA HALL, steeple on a sharp angle into the rising sun. PHANTOM LADY’s
meeting her contact there.
PHANTOM LADY> CAPTION> TWEETY BIRD TO PUSSYCAT, WE ARE IN POSITION, OVER.
THE BIRDCAGE IS SECURE.
Panel 2. RAY’S next to SAM in the tight enclosed steeple, open to the cold
morning air. He’s waiting, both watching PHANTOM LADY as she leans out
lying provocatively on the ledge, checking her wrist screen.
SAM> YOU NAME ALL YOUR CODES AFTER CARTOONS?
PHANTOM LADY> I WAS RAISED BY TV - SO SUE ME.
RAY> I’D BET I COULD CRACK YOUR SYSTEM. YOU FBI GUYS ALWAYS LEAVE YOUR
BACKDOOR ACCESS OPEN.
PHANTOM LADY> SWEETIE, MY BACKDOOR IS NONE OF YOUR BUSINESS.
Panel 3. SAM exhales in the cold morning air, breath visible as he looks down
on the street. PHANTOM LADY’S next to him, and RAY, torso shots.
SAM> S’GONNA BE LIGHT SOON, WE CAN’T HANG ROUND FOREVER, YEAH.
...NEVER STAY IN ONE PLACE TOO LONG, YOU’VE GOTTA GET THAT DRILLED INTO
YOU NOW...
PHANTOM LADY> LISTEN, MR FUGITIVE, MY CONTACT JUST RADIOED IN, HE’LL
BE HERE ANY SECOND.
RAY> ALL I CAN SEE ARE STREET SWEEPERS...
Panel 4. PHANTOM LADY points out at a cloudbank, tiny figures of BLACK CONOR
and two passengers just visible in the sky.
PHANTOM LADY> WELL MAYBE YOU’VE BEEN LOOKING IN THE GUTTERS TOO LONG,
RAY. SOME OF US HAVE GOT FRIENDS IN HIGH PLACES...
RAY> OH, NO WAY... DON’T TELL ME...
Panel 5. BLACK CONDOR arrives dramatically, with DAMAGE and DANETTE in tow,
lifting them telekinetically through the columns into the steeple, hovering
just outside it himself.
BLACK CONDOR> GREETINGS, COMRADES!
RAY> GREAT, THE GANG’S ALL HERE...
PAGE NINETEEN
Panel 1. In the close quarters DAMAGE and RAY start to scuffle as DANETTE
hangs back...
RAY> DAMAGE, IS THAT YOU UNDER THAT FACE MUFF?
DAMAGE> BACK OFF, RAY, I DON’T NEED ANY ‘TUDE FROM YOU RIGHT NOW.
RAY> OOOHH, WHO’S MR TOUCHY THEN?
Panel 2. BLACK CONDOR steps in and stops them, his underwings opening out
to full max between them.
BLACK CONDOR> COMRADES! IT IS NOT RIGHT THAT BROTHER WARRIORS FIGHT.
DAMAGE> HEY, HE STARTED IT!
RAY> DON’T BE SUCH A CRYBABY, EMERSON!
Panel 3. FIREBRAND looks at DAMAGE and is freaked.
FIREBRAND> ...GRANT, WHAT THE HELL IS GOING ON HERE?
DAMAGE> JUST TRUST ME, ALRIGHT? I KNOW THESE PEOPLE...WELL, MOST OF EM.
Panel 4. BLACK CONDOR and PHANTOM LADY kiss and reunite. Their back history
is hinted at.
BLACK CONDOR> TYLER... WE’VE GOT TO TALK...MMMMMM....
PHANTOM LADY> DON’T BE SHY OF THE BOYS. IT MAY BE CRAMPED UP HERE BUT
WE’RE ALL ENEMIES OF THE STATE.
Panel 5. PHANTOM LADY’s hugging BLACK CONDOR around the neck and turning
and looking at the others.
PHANTOM LADY> BOYS, THIS IS RYAN KENDALL, AKA THE BLACK CONDOR. I ASKED HIM
TO CHECK OUT A LEAD FOR ME ON THIS OIL RIG - BEFORE THE EXPLOSION....
BLACK CONDOR> I FOUNDTHESE TWO WAIFS DROWNING IN A HELICOPTER THAT’D
JUST LEFT THE RIG. I THINK THEY CAN TELL YOU MORE THAN I CAN...
PAGE TWENTY
Panel 1. Large panel. CONDOR and the RAY lift the other three down to the ground,
landing in the lawns behind Independance Hall where the Liberty Bell pavilion
is. CONDOR’s got PHANTOM LADY round the waist, RAY is lifting DAMAGE and
FIREBRAND with a light construct, SAM is jumping down three stories on his own
power, unharmed.
SAM> C’MON, LET’S GET SOME COVER...
DANETTE> LOOK, WHOEVER YOU PEOPLE ARE, YOU SHOULD KNOW SOMETHING FIRST OFF.
MY NAME’S DANETTE REILLY. THE CEO OF THE COMPANY THAT OWNS THAT OIL RIG
IS MY GRANDFATHER.
DANETTE> AND IF THAT’S NOT BAD ENOUGH, YESTERDAY I DIDN’T SPROUT
FLAME...
Panel 2. DAMAGE is walking beside her on the lawn as DANETTE looks up at the
others, flaming.
DAMAGE> HER METAGENE’S SURFACED...
FIREBRAND> NO...YOU DON’T UNDERSTAND...I TESTED NEGATIVE.
FIREBRAND> ...I’M NOT MEANT TO BE ABLE TO DO THIS...
Panel 3. The crew in upper torso shots on a slight angle against the Liberty
Bell pavilion from left to right: PHANTOM LADY; BLACK CONDOR, RAY, DAMAGE and
FIREBRAND. SAM facing them. See the reference shot of the pavilion - they’re
standing in front of a glass wall behind which can be seen the Liberty Bell.
SAM> I BELIEVE YOU, DANETTE. BUT I’VE BEEN ROUND ENOUGH TO KNOW THAT
EVERYTHING HAPPENS FOR A REASON. THINGS GO IN CYCLES, AND A LOT OF YOU FOLKS
LOOK MIGHTY FAMILIAR, IF YOU DON’T MIND ME SAYING.
Panel 4. Close up on SAM or his reflection as he looks through the glass at
the Liberty Bell hanging there, or reaches out his hand on the glass.
SAM> MY NAME’S SAM JACKSON, BUT YOU CAN CALL ME UNKLE SAM.
SAM> I FOUGHT FASCISM WTH YOUR PREDECCESSORS IN WORLD WAR II AS THE FREEDOM
FIGHTERS AND NOW, THE COURSE OF EVENTS HAS CONSPIRED TO BRING US TOGETHER AGAIN,
JUST WHEN WE’RE NEEDED...
Panel 5. Close up on the bell through the glass with it’s cracked side
and the motto engraved on it, “Liberty and Justice for all”.
SAM> Y’SEE, TRANSNATIONAL COMPANIES LIKE REILLY CO ARE CONQUORING THE
ENTIRE WORLD THROUGH THE SO CALLED ‘FREE’ MARKET. THEIR ARSENALS ARE
FINANCIAL, BUT JUST AS DEADLY. MILLIONS OF PEOPLE ARE BEING STARVED AND KILLED
AT THIS VERY MOMENT IN THEIR RELENTLESS SEARCH FOR PROFITS.
PAGE TWENTY ONE
Panel 1. SAM turns to talk to the others looking on at him in the cold morning
air, breath escaping from their mouths.
SAM> IT’S NO COINCIDENCE THAT PRESIDENT LUTHOR IS A COMPANY MAN.
SAM> HE MADE HIS FORTUNE IN THE TECHNOLOGY MARKET AND NOW THAT TECHNOLOGY
IS BEING USED TO SPY ON THE AMERICAN PEOPLE, DENYING OUR CONSTITUTIONAL FREEDOMS
AND DEMOCRATIC RIGHTS …
Panel 2. SAM motions to RAY with his thumb, pointing at the glass.
SAM> RAY, IF YOU WOULDN’T MIND? RAY> SURE, WHAT’S ONE MORE BROKEN
LAW AFTER WHAT WE’RE IN FOR?
Panel 3. Ray walks through melting the glass, followed by the rest of the
team.
SAM> WELL, THAT’S WHAT I’M GETTING AT. THEY’VE FRAMED THE
FREEDOM NETWORK TO CREATE THE MEDIA ILLUSION OF METAHUMAN TERRORISTS.
Panel 4. Replica panel of the famous Uncle Sam with hand outstretched, imploring
the viewer.
SAM> WE’RE ALL ON THE WRONG SIDE OF THE LAW NOW, BUT DO YOU WANT TO
BE ON THE RIGHT SIDE OF THE PEOPLE?
Panel 5. Everyone (except RAY) with their hands overlapped, shot from below
in the circle they’ve formed.
PHANTOM LADY> YOU COULD TALK THE SKIN OFF A SNAKE, JACKSON, BUT WE’RE
WITH YOU.
BLACK CONDOR> WHAT OTHER CHOICE DO WE HAVE?
Panel 6. SAM’s smiling, turning to put a hand on RAY’s shoulder as
he stares at the Liberty Bell.
SAM> GOOD... BUT THIS IS ABOUT CONSENSUS DECISION MAKING -WHAT ABOUT YOU,
RAY?
PAGE TWENTY TWO
Panel 1. RAY frowning, in front of the Liberty Bell.
RAY> Y’KNOW, WHEN I WAS A KID I ALWAYS KINDA LIKED THIS HERE CRACK IN
THE LIBERTY BELL. BUT NOW I CAN’T STOP THINKING IT STANDS FOR WHAT’S
REALLY GOING ON IN THE ‘LAND OF THE FREE’, THE WAY EVERYTHING’S
BEEN TWISTED AGAINST US.
Panel 2. Close up on RAY running a hand over the crack and the inscription.
RAY> BUT MAYBE TOGETHER WE CAN DO SOMETHING ABOUT THAT.
Panel 3. RAY lets off a burst of light against the crack that seals it, sending
off rays of light into the dawn as the Liberty Bell rings.
S/FX> BOOONNGG! BOOONNGG!
Panel 4. Text panel....
Ring the bells that still can ring.
Forget your perfect offering.
There is a crack, a crack in everything.
That's how the light gets in,
That's how the light gets in,
That's how the light gets in.
ANTHEM by Leonard Cohen
Leonard Cohen ('92)