lost boys

11

LOST BOYS

THE JOURNEYBook by Tari Eguruzewith Illustrations by Josh Sherwell

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An aerial view of the Walled City in 1973, just a few years after the final crop of multi-storey buildings had begun to replace earlier stone and wooden houses. Spreading out

in low canopy to the south and west are the tin shacks of the sai Tau Tsuen Squatter settlement, which was not

cleared until 1985.

LAMBOT, I. and GIRARD, G. (1999) City of Darkness: Life In Kowloon City

Watermark Publications

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The City of Darkness By Madison J. Cawein

Wide-walled it stands in heathen landsBeside a mystic sea,

With streets strange-trod of many a god,And templed blasphemy.

Far in the night, a rose of lightIt shines beside the sea;

But overhead an unknown dreadImpends eternally.

There is a sound above, aroundOf music by the sea;

And weird and wide the torches glideOf pagan revelry.

There is a noise as of a voiceThat calls beneath the sea;

And all the deep grows pale with sleepAnd vague expectancy.

Then slowly up--as from a cupSeethes poison--lifts the sea;

Wild mass on mass, as in black glass,The town glows fiery.

Red-lit it glowers like Hell’s dark towersSet in the iron sea;

And monster swarms with awful formsRoll though it cloudily.

Still overhead the unknown dread,Whose shadow dyes the sea,

At wrath-winged wait behind its gateTill God shall set it free.

A taloned flash, an earthquake crash,And, lo! upon the sea,

Black wall on wall, a giant pall,Night settles hideously.

And where it burned, a rose inurned,Red in the vasty sea,

The phantasm of the dread aboveSits in immensity.

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77

LOST BOYS

THE JOURNEYBook by Tari Eguruzewith Illustrations by Josh Sherwell

Lost Boys

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Contents

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Page 12

Page 16

Page 24

Page 26

Page 50

Kowloon Walled City

Setting

Story

Characters

Comic

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Kowloon Walled City

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Kowloon Walled City is the very basis for this story. It’s setting, atmosphere, architecture, history, and mythology all inform it’s scope and development.

Nicknamed Hak Nam,(The City of Darkness) was located within the Kowloon district of Hong Kong, China.

It was demolished in 1993 after decades of growth, before the site was finally resurrected as Kowloon Walled City park in 1996. Where only the memories and immortalized footprint of the former mini-metropolis used to be housed.

The population o f the City was recorded to house roughly 33,000 residents in 1987 alone. With some sources claiming the numbers reached even up to 50,000 soon after. With a population density of 1,255,000/km squared. Whereas Hong Kong’s total population density was only 6,700/km squared in 2009.

Kowloon Walled City was undoubtedly the largest slum in the world.

It is described as representing the darkness of Hong Kong. From crime, to the poorest living conditions.

Despite impossibly surviving and expanding over the last thousand years, the city was also well know to be saturated with crime, especially during the 1950’s to the 1970’s. When the Triad, a notorious Chinese organized crime syndicate, ruled the City.

Even at the time of it’s emergence, the walled city was regarded as a six and a half acre slum. It was a legal no mans land; a notorious city of darkness and sin.

During the Sung Dynasty (960-1297), it was known as Kuan-Fu Cha’ng - Kowloon. Where the site housed originally a small fort for the Imperial Soldiers who controlled the salt fields of north eastern coast of Kowloon.

During the Sung Dynasty (960-1297), it was known as Kuan-Fu Cha’ng - Kowloon. Where the site housed originally a small fort for the Imperial Soldiers who controlled the salt fields of north eastern coast of Kowloon.

In 1847 a wall was constructed. It became a symbol for the occupants of Kowloon, cementing the name of the Walled City once and for all. The wall itself measuring at roughly recorded as fifteen feet wide, and thirteen feet high of granite. It held one hundred and nineteen cannons for defence against the threat of the British.

Over the years, the walled city expanded into a settlement in addition to serving as a defensive structure. Surviving assaults and attacks from both outside and within it’s walls.

The city is a marvel of a structure, surviving the test of time and decay.

And therein lies our story...

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THE CITY OF...

...DISILLUSION...

...CONSOLIDATION...

...CORRUPTION...

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...DEPRIVATION...

....THE CITY OF DARKNESS.

...SOLITUDE...

...DESPERATION...

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Setting

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The Slope is the fictional setting for the story.

While constructing the story it was decided early on that the story would be set in two distinct location; a ‘nice’ and ‘bad’ city environment.

The latter is The Slope, heavily based on Kowloon Walled City. While the former is loosely based on Victoria Harbour’s Central and Western District of Hong Kong.

While Kowloon Walled City was situated within the main land of Hong Kong, The Slope was decided to be isolated on a small island, as if separated from the rest of the world. Which in part is the reason the city became so corrupted.

The conditions of the city are also inspired in part by the current real world equivalent of a ‘shanty metropolis’ in the form of São Paulo s favela district in Brazil, South America.

The shanty towns were originally the self built dwellings of the freed American slaves from the north.

Now they serve as the still largely self built and ungoverned dwell-ings for the poorest residents of São Paulo. The homes are made from any available materials, ranging from wood, metal or plas-tics; literally any materials they can get their hands on.

The modern applications of favelas began to emerge from the 1970’s similarly to the modern development of Kowloon’s Walled City. Even within the favelas, crime, organized or otherwise, commonly associated with drug use, was very prevalent in the towns.

The connotations of the similari-ties between the favelas and the Walled City are painfully clear.

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THE SLOPE

HARBOUR CITY

HARBOUR INTERBRIDGE

MOUNTAINSIDE CITY

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NORTHERN WATER DISTRICTNEUTRAL EARTH TERRITORY

WESTERN METAL DISTRICT

EASTERN WOOD DISTRICT

SOUTHERN FIRE DISTRICT

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THE WHITE TIGRESS OF THE WESTWENDY SILVERSTONE

THE BLACK TORTOISE OF THE NORTHDOMINIC SILVERSTONE

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DAISUKE MATSUMOTO

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Story

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The comic is a story about a gang of young misfits getting in (way) over their heads.

The setting is an isolated, and almost dystopian, city ruled by crime and poverty.

The story follows the lives of the LOST BOYS as they get themselves involved with the darker inner workings of the city.

The idea for the story is born from the idea that just as Kowloon Walled City represents the crime and degradation of Hong Kong, the characters of the story represent the various aspects of the city they live in. The darkest parts, as well as the stark differences in quality of life.

The story focuses of how central characters are personally affected by the crime which rules over their city, and how they deal with it in response.

Even the reactions to the events which befall the characters are directly influenced by the personality of the city.

Through the events of the story it will be easier to understand how such an environment can shape a person.

To be able to see how people would act and live, or the personalities they would subsequently take on when forced to live in such an environment, with no real hope of liberation.

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Characters

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The basis for the characters is that they were initially inspired by the protagonists of Tekkonkinkreet a Seinen Manga by Taiyo Matsumoto, originally released between 1993 and 1994 as apart of an ongoing series. Later adapted as a feature length Anime film in 2006.

The story featured orphaned street kids who lived in a city similarly ruled by crime, trying their best to protect it.

They also are very similar to concept of the Lost Boys from J.M. Barrie’s Peter Pan stories, which featured a group of orphaned boys who did not want to grow up and were led by Peter himself.

The characters themselves are reflections of the atmosphere and state of the city.

They represent the crime and corruption oft he city itself. Although conversely, they also represent the good or the hopeful aspects of the city trying their very best not to be corrupted along with everything else.

The development and progression of the story is dependant on the exploration and development of the characters’ personalities.

Each character, like all people, have differing perceptions and reactions to the world around them.

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MX

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My City

I need to defend it.

Our territory.

What else would I do?

There are so many cracks—

So many faults—

So many problems—

Who else is gonna deal with it, if not us?

We need to protect our home from them.

If the adults won’t do it—

Then it’s down to us.

This is my city.

And I’m it’s defender.

Mark Alexander

MX aka Max aka Fox

“The Leader “

The boisterous central protagonist of the story. MX is an orphan who grows up in a pseudo-foster care programme under the supervision of his ‘big brother’ Tedd.

With no real family of his own, he has developed a strong bond the city itself as if it was apart of his family.

Over the years he has developed relationships with several other equally troubled kids (albeit troubled for drastically different reasons than his own), and they have taken it upon themselves to declare themselves the protectors of the city.

He doesn’t believe many other people have the best of intentions when they claim to be helping, so him and his team of Lost Boys have taken it upon themselves to protect the city in their own way.

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KC

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My Family. My Home

This place is my home.

Your home is where your family is.

You are used to the sights and smells—

The patterns and the moods.

They all become commonplace—

Like a habit.

You don’t always have to like it—

but you can’t choose your family.

Your stuck with them.

It’s where you’re safest.

With what you’re familiar with.

My family. My Home.

Cacey Jun-Hallowell

KC aka Cat

“The Partner “

Of the four members of the group, KC is deemed best to lead besides MX. She has a similar philosophy when it comes to who and how the city should be protected and she understands how MX regards the bonds between himself, his friends, and the city.

She was initially attracted to join MX due to the new role she would have in her life. She would finally have her own identity.

KC is one of many children of the owners of the Jun-Hallowell Thai Restaurant which is striving within the depths of the Slope. Her siblings and cousins all work in restaurant along with her parents.

Despite coming from such a large family, she feels almost lost within them and considers herself just another face in the crowd.

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JR

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The Labyrinth

We live in a maze.

We move through it all the time, but we still don’t know what lies

behind the next corner.

Each step is a gamble—

It’s just luck if we make it to next path.

We’re all lost.

We can decide the direction or the specific path,

But ultimately, we’re still lost.

We don’t know where the path will lead to,

Or when we’ll reach the end.

We’re just moving around blind.

Lost in the chaos and the dark-ness.

Jerome Logan Jr.

JR aka Junior aka Bat

“The Brains “

JR is undoubtedly the most ‘gifted’ of the group. His story is also the most radically different.

He comes from a wealthy family of three with both his mother and father, who both live and work across from The Slope in the Harbour district.

He is the top of his class in school and is expected to follow in footsteps of his father working directly for Mr. Silverstone himself.

JR’s life is already laid out clearly ahead of him. He joins the Lost Boys in the hopes of freeing himself and, similarly to KC, develop his own unique identity. Besides just being the best and brightest of J.M. Barrie Academy and succeeding the Logan name.

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GT

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The Light

I see the lights, where others see darkness.

Things aren’t always as bad as they seem.

There is a whole world to explore down here—

And so many people who want to share their light.

But not everyone see’s things the same.

Sometimes the lights go out for them.

They can’t see anything—

Or find anyone—

Only darkness.

That’s my job.

I’m there to help—

And to guide others to light just beyond.

Grant Kent

GT aka Bear

“The Muscle “

GT is the one who keeps the group together. He has a very innocent positive outlook on life and greatly appreciates being apart of the Lost Boys, as much as the others.

He doesn’t come from a particularly financially stable home, living only with his mother, not knowing his father his entire life.

His school life was also not a very positive environment for him as he was constantly picked on by the other students. Mostly for being bigger than everyone else, but for also not being the brightest in the class.

Though he was bullied a lot initially, he never lashed out against others and always seemed quite happy.

He was eventually befriended by MX when MX took it upon himself to protect GT from a certain group of troublemakers.

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Tedd

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Onwards and Upwards

Things change.

The world improves itself.

People die.

What comes next is down to us.

We can lay down the foundations of our future —

And build up from there.

It was his job to help us up into world —

And now it’s my turn.

I’ll help to build him up —

To maintain him.

He’ll go far if I let him.

The only way out, is up.

Theodore Alexander

Tedd aka Teddy

MX’s older ‘brother’. He is in reality MX’s foster brother who recently became MX’s legal guardian, living in a home provided by the city’s social care programme.

He was raised by MX’s father along with MX and Cyn so he feels he is MX’s real family. When their father died, Tedd made it his personal duty to always look after MX and keep him safe (a task which proves far too difficult to keep on a daily basis).

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Cyn

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The Plan

Things don’t always go according to plan.

You can’t plot out every detail without knowing all the facts.

I had to do what was best —

For us —

For him.

He’ll get there eventually.

And if he does, then I’ll join him.

For now —

This is where I belong —

Right between the cracks —

Planning out as I go.

Cynthia Alexander

Cyn aka Sin

Despite being MX’s older sister, she hasn’t been apart of MX’s life ever since their father died. Even MX was far too young to feel much of a familial bind between them.

Cyn currently works as a personal aid to Mr. Silverstone. Working far too close to the controlling corruption of the city.

Despite her strained relationship with Tedd and MX, she still never fails to set aside some money for MX to live on. Whether he knows it or not.

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Mr. Silverstone

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The Kingdom and the Prison

This is my Kingdom and my prison

Every acre—

Every square inch of this place, is mine to control as I see fit.

Nobody takes a step out of line without me knowing about.

For all they know, I’m behind every door-

Beyond every corner.

I am always and everywhere.

Never anywhere else.

This is my prison—

And I am the warden.

This is my kingdom—

And I am the King.

Dominic Silverstone

The Tortoise of the North

“The Brains “

Silverstone is a wealthy philanthropist who, along with his wife, took it upon themselves to clean up The Slope.

They arrived in the Harbour District about 15 years prior with intentions to ‘clean up’ the streets.

Silverstone primarily focused on creating better living conditions for the residents. Including safer and better environments for the youths in the city.

Eventually he met and partnered with Daisuke Matsumoto, an existing wealthy business tycoon who was the existing sole financier of The Slope.

Eventually, through this pairing, Silverstone became heavily involved with the hierarchy of crime which controlled the city, falling deeper and deeper in darkness. Despite his best efforts.

He now believes that the best way to protect the city is from within the belly of the beast itself.

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Mrs. Silverstone

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Patience

It’s takes a great belief to see what God intended for us.

It would be so easy to ignore Him.

Too easy to go about our lives, without goodness at all.

I waited for Him and saw my place.

The ones furthest from His light are the ones who shield

themselves with their own darkness.

My place is to help others return to Him-

To help others to believe in His miracles.

But that requires me to guide whoever I can through their own darkness, labyrinth, or prison.

It requires a great belief and patience to do His work.

Wendy Silverstone

The Tigress of the West

“The Partner “

The estranged wife of Silverstone.

While no longer as personally involved in the affairs of The Slope, she is still an equal party shareholder of the trio that is the private council who fund the development of the Slope.

When she and Mr. Silverstone originally arrived in the Slope, she focused on mainly targeting and helping individuals personally affected by the crime and conditions of the Slope. Including victims of drugs or violence.

While her husband noticeably began his decent into the corruption of the city, Wendy made the decision to take a step back from her self appointed duties, worrying for her safety as she was now out numbered two to one.

Her husband, didn’t follow the same action and they soon drifted part.

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Mr. Matsumoto

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Daisuke Matsumoto

The Dragon of the East

“The Muscle “

The rumoured notorious crime boss of crime syndicate operating within the Harbour District and The Slope.

Before the Silverstones appeared he was the sole private financier of The Slope. As the city was ungoverned, and more or less abandoned the government, Matsumoto saw it as an opportunity to expand his empire the one place he would have no challengers.

My Empire. My Legacy

Everything is within my control.

My power cannot be stifled.

I will build my empire —

My legacy.

I will live on in through all that I control.

My achievements will stand tall for the world too see —

For al to remember —

And for all to fear.

I will live on.

My legacy —

My empire.

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Mr. Alexander

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Home

Never let go of where you come from.

Your home is where your fondest memories have been embeded.

The ground —

The walls —

Your entire surroundings are saturated with memories of who

you were.

Your memories are what make you safe —

They are what you return to when the world lets you down.

Never let go of where you came from.

Remeber your home.

Peter Alexander

The Phoenix of the South

“The Leader “

The deceased father of MX, Cyn, and Tedd.

Former business partner of both Mr. and Mrs. Silverstone, as well as Mr. Matsumoto.

Along with his former business partners, he was one of the four ‘Great Beasts’ who controlled The Slope ten years prior to his death.

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The Masqueraders

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A Job

We go where we are needed.

Wherever he needs work done.

Our services cover all aspects of his territory.

Wherever —

Whenever —

We go.

And what we get the job done.

The Masqueraders

Not much is known about Mr. Silverstone’s aptly named ‘Masqueraders’.

Their identities are known only to Mr. Silverstone himself.

All that is known about them is that they carry out Mr. Siilverstone’s dirty work, with nothing but a smile on their cold faces...

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Comic

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LOST BOYS

“... a story about a gang of young misfits getting in (way) over their

heads.

The setting is an isolated, and almost dystopian, city ruled by

crime and poverty.

The story follows the lives of the LOST BOYS as they get

themselves involved with the darker inner workings of the

city....”

Story & Script byTari Eguruze

Art byJosh Sherwell

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Issue #1Lost Boys • Script • Volume #1, Issue #01 • Tari Eguruze

Copyright © 2012 by Tari Eguruze

“LOST BOYS”

SCRIPT (ISSUE #1)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

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Lost Boys • Script • Volume #1, Issue #01 • Tari Eguruze


“LOST BOYS”

SCRIPT (ISSUE #1)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

52

Illustrations by Josh Sherwell

Issue #1Page 01



2

PAGE ONE (four panels)

CREDITS PAGE

PANEL 1.

BACK-VIEW CLOSE-UP of MX with his hood up.

PANEL 2.

BACK-VIEW CLOSE-UP of JR with his hood up.

PANEL 3.

BACK-VIEW CLOSE-UP of KC with her hood up.

PANEL 4.

BACK-VIEW CLOSE-UP of GT with his hood up.

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CREDITS PAGE

PANEL 1.

BACK-VIEW CLOSE-UP of MX with his hood up.

PANEL 2.

BACK-VIEW CLOSE-UP of JR with his hood up.

PANEL 3.

BACK-VIEW CLOSE-UP of KC with her hood up.

PANEL 4.

BACK-VIEW CLOSE-UP of GT with his hood up.

Script by Tari Eguruze

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Issue #1Page 02 & 03



3

PAGE TWO & THREE (eight panels)

PANEL 1.

WIDE-VIEW of the Slope.

MX (THOUGHT):

“This is our city.”

PANEL 2.

CLOSE-UP of The Slope.

MX (THOUGHT):

“The Slope—

MX (THOUGHT):

—aka Gangland.”

PANEL 3.

CLOSE-UP of a street.

MX (THOUGHT):

“Population: Thirty three thousand, four hundred, and sixty

two.”

PANEL 4.

CLOSE-UP of a dark alleyway.

MX (THOUGHT):

“To survive in this city, you need to be the one on-top.”

PANEL 5.

CLOSE-UP silhouettes of figures running through an alleyway.

MX (THOUGHT):

“You need to be the one that everyone knows to be afraid of.”


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PAGE TWO & THREE (eight panels)

PANEL 1.

WIDE-VIEW of the Slope.

MX (THOUGHT):

“This is our city.”

PANEL 2.

CLOSE-UP of The Slope.

MX (THOUGHT):

“The Slope—

MX (THOUGHT):

—aka Gangland.”

PANEL 3.

CLOSE-UP of a street.

MX (THOUGHT):


two.”

PANEL 4.

CLOSE-UP of a dark alleyway.

MX (THOUGHT):

“To survive in this city, you need to be the one on-top.”

PANEL 5.

CLOSE-UP silhouettes of figures running through an alleyway.

MX (THOUGHT):

“You need to be the one that everyone knows to be afraid of.”


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Issue #1Page 02 & 03



4

(continued)

PANEL 6.

Bottom left panel.

OVERHEAD-POV looking down at the alleyway from above, watching

the figures run.

MX (THOUGHT):

“Otherwise, you’re as good as nothing.”

PANEL 7.

Bottom middle panel.

BACK-VIEW CLOSE-UP of MX kneeling down on a rooftop looking down

at the alley, with his hood up.

MX (THOUGHT):

“Unfortunately...being on top sometimes means you need to put

others in their place—

PANEL 8.

Bottom right panel.

CLOSE-UP of MX’s face smiling.

MX (THOUGHT):

—and remind them exactly who is boss.”


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4

(continued)

PANEL 6.

Bottom left panel.

OVERHEAD-POV looking down at the alleyway from above, watching

the figures run.

MX (THOUGHT):

“Otherwise, you’re as good as nothing.”

PANEL 7.

Bottom middle panel.

BACK-VIEW CLOSE-UP of MX kneeling down on a rooftop looking down

at the alley, with his hood up.

MX (THOUGHT):

“Unfortunately...being on top sometimes means you need to put

others in their place—

PANEL 8.

Bottom right panel.

CLOSE-UP of MX’s face smiling.

MX (THOUGHT):

—and remind them exactly who is boss.”


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Issue #1Page 04



5

PAGE FOUR (five panels)

PANEL 1.

Run down bathroom INTERIOR.

FRONT-VIEW of a rival gang of four beaten children burst into a

run down bathroom.

RIVAL GANG LEADER:

In here!

PANEL 2.

POV of the bathroom interior.

PANEL 3.


PANEL 4.

CLOSE-UP of a rival gang member looking at his broken hand.

RIVAL GANG MEMBER:

My hand is fucking broken…

PANEL 5.

WIDE-VIEW of the four rival gang members hiding out in the

bathroom.

RIVAL GANG MEMBER 2:

I told you this was a stupid idea!


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PAGE FOUR (five panels)

PANEL 1.

Run down bathroom INTERIOR.

FRONT-VIEW of a rival gang of four beaten children burst into a

run down bathroom.

RIVAL GANG LEADER:

In here!

PANEL 2.


PANEL 3.


PANEL 4.

CLOSE-UP of a rival gang member looking at his broken hand.

RIVAL GANG MEMBER:

My hand is fucking broken…

PANEL 5.

WIDE-VIEW of the four rival gang members hiding out in the

bathroom.


I told you this was a stupid idea!


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Issue #1Page 05



6

PAGE FIVE (six panels)

PANEL 1.

CLOSE-UP of MX’s bat being struck against a pipe outside.

PANEL 2.

CLOSE-UP of a gang member turning around, startled by the sound

of MX’s bat in the distance.

RIVAL GANG MEMBER:

What was that?

PANEL 3.

CLOSE-UP of two scared rival gang members.


Have they found us?

PANEL 4.

CLOSE-UP of the rival gang leader.

RIVAL GANG LEADER:

Sous, check it out.

PANEL 5.

SIDE-VIEW of a gang member run towards the bathroom exit.

PANEL 6.

FRONT-VIEW of the rival gang member watch and listen behind the

bathroom door.

RIVAL GANG MEMBER:

Shh…


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6

PAGE FIVE (six panels)

PANEL 1.

CLOSE-UP of MX’s bat being struck against a pipe outside.

PANEL 2.

CLOSE-UP of a gang member turning around, startled by the sound

of MX’s bat in the distance.

RIVAL GANG MEMBER:

What was that?

PANEL 3.

CLOSE-UP of two scared rival gang members.


Have they found us?

PANEL 4.

CLOSE-UP of the rival gang leader.

RIVAL GANG LEADER:

Sous, check it out.

PANEL 5.

SIDE-VIEW of a gang member run towards the bathroom exit.

PANEL 6.

FRONT-VIEW of the rival gang member watch and listen behind the

bathroom door.

RIVAL GANG MEMBER:

Shh…


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Issue #1Page 06



7

PAGE SIX (four panels)

PANEL 1.

CLOSE-UP of MX patiently waiting on the opposite side of the

bathroom door.

PANEL 2.

SIDE-VIEW of a rival gang member with his ear against the door.

RIVAL GANG MEMBER:

I think I hear something.

PANEL 3.

SIDE-VIEW of MX waiting outside on the opposite side of the

bathroom door grinning, with his bat over his shoulder.

PANEL 4.

CLOSE-UP of MX’s foot crashing the door, knocking of the rival

gang member as he exclaims in shock and agony.


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7


PANEL 1.

CLOSE-UP of MX patiently waiting on the opposite side of the

bathroom door.

PANEL 2.

SIDE-VIEW of a rival gang member with his ear against the door.

RIVAL GANG MEMBER:

I think I hear something.

PANEL 3.

SIDE-VIEW of MX waiting outside on the opposite side of the

bathroom door grinning, with his bat over his shoulder.

PANEL 4.

CLOSE-UP of MX’s foot crashing the door, knocking of the rival

gang member as he exclaims in shock and agony.


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Issue #1Page 07



8

PAGE SEVEN (one panel)

PANEL 1.

FRONT-VIEW of the LOST BOYS standing just within the entrance of

the bathroom INTERIOR. GT is in the back, MX is at the front

with a wide grin on his face. KC is on the left, and JR is on

the right.


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8

PAGE SEVEN (one panel)

PANEL 1.

FRONT-VIEW of the LOST BOYS standing just within the entrance of

the bathroom INTERIOR. GT is in the back, MX is at the front

with a wide grin on his face. KC is on the left, and JR is on

the right.


66

Issue #1Page 08



9

PAGE EIGHT (four panels)

PANEL 1.

FRONT-VIEW of MX hitting someone across the face with his bat.

PANEL 2.

FRONT-VIEW of KC kicking someone in their side.

PANEL 3.

FRONT-VIEW of GT punching someone in the face with his left

fist.

PANEL 4.

FRONT-VIEW of JR standing over someone on the floor.


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9


PANEL 1.

FRONT-VIEW of MX hitting someone across the face with his bat.

PANEL 2.

FRONT-VIEW of KC kicking someone in their side.

PANEL 3.

FRONT-VIEW of GT punching someone in the face with his left

fist.

PANEL 4.

FRONT-VIEW of JR standing over someone on the floor.


68

Issue #1Page 09



10

PAGE NINE (four panels)

PANEL 1.

FRONT-VIEW CLOSE-UP of JR with his hood up. His eyes are

shadowed out.

JR (WHISPERS):

….Enough.

PANEL 2.

BACK-VIEW of MX sitting on someone chest, about to strike the

gut between his legs.

JR (OP):

That’s enough Max.

PANEL 3.

CLOSE-UP as MX turns his head over his shoulder

PANEL 4.

MX’s CLOSE-UP POV looking up at JR.

KC (OP):

He’s right.


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10


PANEL 1.

FRONT-VIEW CLOSE-UP of JR with his hood up. His eyes are

shadowed out.

JR (WHISPERS):

….Enough.

PANEL 2.

BACK-VIEW of MX sitting on someone chest, about to strike the

gut between his legs.

JR (OP):

That’s enough Max.

PANEL 3.

CLOSE-UP as MX turns his head over his shoulder

PANEL 4.

MX’s CLOSE-UP POV looking up at JR.

KC (OP):

He’s right.


70

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11

PAGE TEN (five panels)

PANEL 1.

FRONT-VIEW of KC stand with her hands on her hips.

KC:

Anymore and there’ll be no one left to say who did this to them.

PANEL 2.

BACK-VIEW of MX sitting on someone chest.

PANEL 3.

FRONT-VIEW of JR cautiously waiting for MX’s response.

PANEL 4.

FRONT-VIEW of KC cautiously waiting for MX’s response.

PANEL 5.

BACK-VIEW of MX standing up.

MX:

…fine.


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11


PANEL 1.

FRONT-VIEW of KC stand with her hands on her hips.

KC:

Anymore and there’ll be no one left to say who did this to them.

PANEL 2.

BACK-VIEW of MX sitting on someone chest.

PANEL 3.

FRONT-VIEW of JR cautiously waiting for MX’s response.

PANEL 4.

FRONT-VIEW of KC cautiously waiting for MX’s response.

PANEL 5.

BACK-VIEW of MX standing up.

MX:

…fine.


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Issue #1Page 11



12

PAGE ELEVEN (four panels)

PANEL 1.

CLOSE-UP of MX as he turns his head to reveal a huge smile on

his face.

MX:

We’re done.

PANEL 2.

WIDE-VIEW of MX walk past JR, KC, and GT.

PANEL 3.

CLOSE-UP of MX walk through the exit with his had on the

doorframe.

MX:

Come on GT, let’s get outta here.

PANEL 4.

BACK-VIEW CLOSE-UP of MX as he salutes.

MX:

It’s been fun fellas.


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12


PANEL 1.

CLOSE-UP of MX as he turns his head to reveal a huge smile on

his face.

MX:

We’re done.

PANEL 2.

WIDE-VIEW of MX walk past JR, KC, and GT.

PANEL 3.

CLOSE-UP of MX walk through the exit with his had on the

doorframe.

MX:

Come on GT, let’s get outta here.

PANEL 4.

BACK-VIEW CLOSE-UP of MX as he salutes.

MX:

It’s been fun fellas.


74

Issue #1Page 12



13

PAGE TWELVE (four panels)

PANEL 1.

OVERHEAD-VIEW of the rival gang sprawled out on the floor.

PANEL 2.

BACK-VIEW of MX, KC, JR, and GT run down the alleyway.

PANEL 3.

FRONT-VIEW a resentful rival fang member sit up against the

wall, batterd, bruised, and bloody.

PANEL 4.

CLOSE-UP of a rival gang member wiping blood from his nose.

RIVAL GANG MEMBER:

Fuckin’…Lost Boys…


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13


PANEL 1.

OVERHEAD-VIEW of the rival gang sprawled out on the floor.

PANEL 2.

BACK-VIEW of MX, KC, JR, and GT run down the alleyway.

PANEL 3.

FRONT-VIEW a resentful rival fang member sit up against the

wall, batterd, bruised, and bloody.

PANEL 4.

CLOSE-UP of a rival gang member wiping blood from his nose.

RIVAL GANG MEMBER:

Fuckin’…Lost Boys…


76

Issue #1Page 13



14

PAGE THIRTEEN (four panels)

PANEL 1.

OVERHEAD-VIEW of an abandoned playground.

PANEL 2.

CLOSE-UP of a playhouse.

PANEL 3.

Playhouse INTERIOR. The cover of the entrance to their

underground cave hideout is open.

PANEL 4.

WIDE-VIEW of the cave. There is a ladder stretching up towards

the hole.

JR sitting on a chair.

KC sitting on a backwards chair.

GT sitting cross legged on a mat.

MX on a bean bag chair.

MX:

Okay…what the fuck was that all about, Jerome?


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14


PANEL 1.

OVERHEAD-VIEW of an abandoned playground.

PANEL 2.

CLOSE-UP of a playhouse.

PANEL 3.

Playhouse INTERIOR. The cover of the entrance to their

underground cave hideout is open.

PANEL 4.

WIDE-VIEW of the cave. There is a ladder stretching up towards

the hole.

JR sitting on a chair.

KC sitting on a backwards chair.

GT sitting cross legged on a mat.

MX on a bean bag chair.

MX:

Okay…what the fuck was that all about, Jerome?


78

Issue #1Page 14



15

PAGE FOURTEEN (four panels)

PANEL 1.

CLOSE-UP of a agitated MX sit sprawled out on a bean giant bean

bag looking up at the ceiling.

PANEL 2.

FRONT-VIEW of JR sit on a chair with his elbows on his thighs.

He looks as if he is holding back some resentment for MX.

PANEL 3.

CLOSE-UP.

JR looks up, with a calmer expression.

JR:

You didn’t have to go so far. Just shake them up a little. You

didn’t need to chase them down and beat the crap out of them.

PANEL 4.

SIDE-VIEW of MX sits sprawled out on a bean giant bean bag. He

puts his head up looking towards JR.

MX:

We needed to show ‘em. They were in our territory. What, are we

just supposed to let that slide?


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15


PANEL 1.

CLOSE-UP of a agitated MX sit sprawled out on a bean giant bean

bag looking up at the ceiling.

PANEL 2.

FRONT-VIEW of JR sit on a chair with his elbows on his thighs.

He looks as if he is holding back some resentment for MX.

PANEL 3.

CLOSE-UP.

JR looks up, with a calmer expression.

JR:

You didn’t have to go so far. Just shake them up a little. You

didn’t need to chase them down and beat the crap out of them.

PANEL 4.

SIDE-VIEW of MX sits sprawled out on a bean giant bean bag. He

puts his head up looking towards JR.

MX:

We needed to show ‘em. They were in our territory. What, are we

just supposed to let that slide?


80

Issue #1Page 15



16

PAGE FIFTEEN (three panels)

PANEL 1.

FRONT-VIEW of JR lean forward with his hands up chest level.

JR:

Okay, I get it. But we—

PANEL 2.

CLOSE-UP of KC look up.

KC:

Guys…chill. It’s done. They got the message. Hopefully we won’t

have to see them again.

PANEL 3.

FRONT-VIEW of KC, she is trying to liven the mood, and relieve

the tension of the group.

KC:

The Lost Boys are back on top right? Let’s just enjoy that for a

minute without bickering between ourselves for once. Whadya say

Bear?


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16


PANEL 1.

FRONT-VIEW of JR lean forward with his hands up chest level.

JR:

Okay, I get it. But we—

PANEL 2.


KC:

Guys…chill. It’s done. They got the message. Hopefully we won’t

have to see them again.

PANEL 3.

FRONT-VIEW of KC, she is trying to liven the mood, and relieve

the tension of the group.

KC:

The Lost Boys are back on top right? Let’s just enjoy that for a

minute without bickering between ourselves for once. Whadya say

Bear?


82

Issue #1Page 16



17

PAGE SIXTEEN (four panels)

PANEL 1.

CLOSE-UP of GT smile. His eyes are closed and no teeth are

showing.

PANEL 2.

CLOSE-UP of MX looks to the left pouting.

PANEL 3.

CLOSE-UP of JR looks to the right frowning.

PANEL 4.

CLOSE-UP of KC looks ahead with her eyes closed. She exhales.


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17


PANEL 1.

CLOSE-UP of GT smile. His eyes are closed and no teeth are

showing.

PANEL 2.

CLOSE-UP of MX looks to the left pouting.

PANEL 3.

CLOSE-UP of JR looks to the right frowning.

PANEL 4.

CLOSE-UP of KC looks ahead with her eyes closed. She exhales.


84

Issue #1Page 17



18

PAGE SEVENTEEN (four panels)

PANEL 1.

OVERHEAD-VIEW of the park.

The Lost Boys walks away in opposite directions.

JR and KC walk away side by side.

MX walks away with his bat over his shoulder.

GT walks behind MX.

PANEL 2.

BACK-VIEW of MX.

MX:

See you tomorrow guys. Usual time. Cat…’Bat’.

PANEL 3.

FRONT-VIEW of JR and KC walking.

PANEL 4.

CLOSE-UP of JR’s face looking down.

JR (WHISPERS):

…Yeah…


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18


PANEL 1.

OVERHEAD-VIEW of the park.

The Lost Boys walks away in opposite directions.

JR and KC walk away side by side.

MX walks away with his bat over his shoulder.

GT walks behind MX.

PANEL 2.

BACK-VIEW of MX.

MX:

See you tomorrow guys. Usual time. Cat…’Bat’.

PANEL 3.

FRONT-VIEW of JR and KC walking.

PANEL 4.

CLOSE-UP of JR’s face looking down.

JR (WHISPERS):

…Yeah…


86

Issue #1Page 18



19

PAGE EIGHTEEN (four panels)

PANEL 1.

OVERHEAD-VIEW of a street.

PANEL 2.

BACK-VIEW of MX and GT walking down a street.

PANEL 3.

SIDE-VIEW of MX’s upper body looking to his upper left.

MX:

You alright to go from here?

PANEL 4.

MX’s POV looking up at GT’s face looking down and smiling.

GT:

I’ll be alright. See you tomorrow Max!


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19


PANEL 1.

OVERHEAD-VIEW of a street.

PANEL 2.

BACK-VIEW of MX and GT walking down a street.

PANEL 3.

SIDE-VIEW of MX’s upper body looking to his upper left.

MX:

You alright to go from here?

PANEL 4.

MX’s POV looking up at GT’s face looking down and smiling.

GT:

I’ll be alright. See you tomorrow Max!


88

Issue #1Page 19



20

PAGE NINETEEN (five panels)

PANEL 1.

OVERHEAD-VIEW of MX and GT.

MX stands at the end of a street before a crossing.

GT runs ahead across the street.

PANEL 2.

BACK-VIEW of GT running backwards waving and smiling back

towards MX.

GT:

…Fox!

PANEL 3.

FRONT-VIEW of MX stand smiling and waving with his left hand.

Holding the bat down by his side with his right.

PANEL 4.

MX’s POV watching GT run ahead.

PANEL 5.

CLOSE-UP of MX with no smile on his face. His arm going limp

after waving.


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20


PANEL 1.

OVERHEAD-VIEW of MX and GT.

MX stands at the end of a street before a crossing.

GT runs ahead across the street.

PANEL 2.

BACK-VIEW of GT running backwards waving and smiling back

towards MX.

GT:

…Fox!

PANEL 3.

FRONT-VIEW of MX stand smiling and waving with his left hand.

Holding the bat down by his side with his right.

PANEL 4.

MX’s POV watching GT run ahead.

PANEL 5.

CLOSE-UP of MX with no smile on his face. His arm going limp

after waving.


90

Issue #1Page 20



21

PAGE TWENTY (four panels)

PANEL 1.

SIDE-VIEW of MX turn around to walk down the street.

PANEL 2.

WIDE-VIEW of MX walk to the right from where he stopped at the

crossing.

PANEL 3.

FRONT-VIEW CLOSE-UP of MX walking down the street with his bat

over his shoulder.

PANEL 4.

MX;s POV of Tedd sitting on the stairs leading up to an

apartment.


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21


PANEL 1.

SIDE-VIEW of MX turn around to walk down the street.

PANEL 2.

WIDE-VIEW of MX walk to the right from where he stopped at the

crossing.

PANEL 3.

FRONT-VIEW CLOSE-UP of MX walking down the street with his bat

over his shoulder.

PANEL 4.

MX;s POV of Tedd sitting on the stairs leading up to an

apartment.


92

Issue #1Page 21



22

PAGE TWENTY ONE (four panels)

PANEL 1.

CLOSE-UP of MX’s head and shoulders. MX rolls his eyes.

MX:

Teddy…

PANEL 2.

BACK-VIEW of Tedd stand up, spot MX in front, watching.

PANEL 3.

MX’s POV looking up at Tedd, cross with his arms folded.

TEDD:

Max...

PANEL 4.

Tedd’s POV looking down at MX, looking away.


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22


PANEL 1.

CLOSE-UP of MX’s head and shoulders. MX rolls his eyes.

MX:

Teddy…

PANEL 2.

BACK-VIEW of Tedd stand up, spot MX in front, watching.

PANEL 3.

MX’s POV looking up at Tedd, cross with his arms folded.

TEDD:

Max...

PANEL 4.

Tedd’s POV looking down at MX, looking away.


94

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23

PAGE TWENTY TWO (five panels)

PANEL 1.

SIDE-VIEW CLOSE-UP of Tedd.

MX (OP):

I’ve told you before. You don’t need to wait up for me every

night.

PANEL 2.

BACK-VIEW of Tedd standing before Tedd.

PANEL 3.

Tedd’s POV looking down at MX gesturing Tedd to move.

MX:

So you gonna move, or…

PANEL 4.

FRONT-VIEW of Tedd unfold his arms and sighs.

TEDD:

Of course I do…

PANEL 5.

FRONT-VIEW of MX walk through the door, Tedd stands just outside

watching MX.


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23


PANEL 1.


MX (OP):

I’ve told you before. You don’t need to wait up for me every

night.

PANEL 2.

BACK-VIEW of Tedd standing before Tedd.

PANEL 3.

Tedd’s POV looking down at MX gesturing Tedd to move.

MX:

So you gonna move, or…

PANEL 4.

FRONT-VIEW of Tedd unfold his arms and sighs.

TEDD:

Of course I do…

PANEL 5.

FRONT-VIEW of MX walk through the door, Tedd stands just outside

watching MX.


96

Issue #1Page 23



24

PAGE TWENTY THREE (five panels)

PANEL 1.

OVERHEAD-VIEW of KC and JR walk walking in the distance.

TEDD (OP):

…I need to make sure that you come back.

PANEL 2.

FRONT-VIEW of KC and JR walk together down a road side by side.

KC has her hands on the back of her head.

KC:

I’ll talk to him. Just please…think about it tonight. Please

Jerome…

PANEL 3.

CLOSE-UP of KC turn to JR.

KC:

We’re a team. But we’re friends first.

PANEL 4.

JR’s POV of KC walks down into a sub-level house.

PANEL 5.

WIDE-VIEW of JR walk down the street.

JR (OP):

…Right…


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24


PANEL 1.

OVERHEAD-VIEW of KC and JR walk walking in the distance.

TEDD (OP):

…I need to make sure that you come back.

PANEL 2.

FRONT-VIEW of KC and JR walk together down a road side by side.

KC has her hands on the back of her head.

KC:

I’ll talk to him. Just please…think about it tonight. Please

Jerome…

PANEL 3.

CLOSE-UP of KC turn to JR.

KC:

We’re a team. But we’re friends first.

PANEL 4.

JR’s POV of KC walks down into a sub-level house.

PANEL 5.

WIDE-VIEW of JR walk down the street.

JR (OP):

…Right…


98

Issue #1Page 24



25

PAGE TWENTY FOUR (five panels)

PANEL 1.

WIDE-VIEW of JR walking towards Harbour City.

JR (OP):

“…Friends…”

PANEL 2.

FRONT-VIEW of a tall building in the Harbour City skyline.

PANEL 3.

Zoom in and see a man in a chair on the phone from behind.

PANEL 4.

BACK-VIEW CLOSE-UP behind Silverstone a chair on the phone. His

face is obscured.

CYN (OP):

That’s right. They should be arriving in the city anytime now,

Sir.

SILVERSTONE:

Good. Keep me informed.

PANEL 5.

CLOSE-UP of Silverstone’s hand hanging up the phone.


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25


PANEL 1.

WIDE-VIEW of JR walking towards Harbour City.

JR (OP):

“…Friends…”

PANEL 2.

FRONT-VIEW of a tall building in the Harbour City skyline.

PANEL 3.

Zoom in and see a man in a chair on the phone from behind.

PANEL 4.

BACK-VIEW CLOSE-UP behind Silverstone a chair on the phone. His

face is obscured.

CYN (OP):

That’s right. They should be arriving in the city anytime now,

Sir.

SILVERSTONE:

Good. Keep me informed.

PANEL 5.

CLOSE-UP of Silverstone’s hand hanging up the phone.


100

Issue #1Page 25



26

PAGE TWENTY FIVE (four panels)

Long widescreen panels.

PANEL1.

WIDE-VIEW of the Masqueraders lower body walking down street.

Splashing in puddles.

PANEL 2.

Raining. WIDE-VIEW of the Masqueraders upper body walking down

street.

PANEL 3.

Raining. WIDE-VIEW of the Msqueraders faces.

PANEL 4.

Raining. A man smoking under a ledge, hiding from the rain.


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26



PANEL1.

WIDE-VIEW of the Masqueraders lower body walking down street.

Splashing in puddles.

PANEL 2.

Raining. WIDE-VIEW of the Masqueraders upper body walking down

street.

PANEL 3.

Raining. WIDE-VIEW of the Msqueraders faces.

PANEL 4.

Raining. A man smoking under a ledge, hiding from the rain.


102

Issue #1Page 26



27

PAGE TWENTY SIX (eight panels)

Panels laid out like a 2x4 boxed grid.

2 columns & 4 rows.

“Wide” panels are twice as long as “Narrow” rows.

PANEL 1.

Narrow.

Raining. He suddenly notices the Masqueraders and squints as if

straining to see.

PANEL 2.

Wide.

Raining. POV watching the Masqueraders approach. From afar.

PANEL 3.

Wide.

CLOSE-UP. Eyes widen in shock.

PANEL 4.

Narrow.

Raining. POV looking down as he frantically reaches into his

pockets.

PANEL 5.

Narrow.

Raining. Front view. His head is down while still in his pocket.

PANEL 6.

Wide.

CLOSE-UP of his eyes looking desperate.

PANEL 7.

Wide.

Raining. Very CLOSE-UP of the Masqueraders walking.

PANEL 8.

Narrow.

Blood flying.


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27

PAGE TWENTY SIX (eight panels)

Panels laid out like a 2x4 boxed grid.

2 columns & 4 rows.

“Wide” panels are twice as long as “Narrow” rows.

PANEL 1.

Narrow.

Raining. He suddenly notices the Masqueraders and squints as if

straining to see.

PANEL 2.

Wide.

Raining. POV watching the Masqueraders approach. From afar.

PANEL 3.

Wide.

CLOSE-UP. Eyes widen in shock.

PANEL 4.

Narrow.

Raining. POV looking down as he frantically reaches into his

pockets.

PANEL 5.

Narrow.

Raining. Front view. His head is down while still in his pocket.

PANEL 6.

Wide.

CLOSE-UP of his eyes looking desperate.

PANEL 7.

Wide.

Raining. Very CLOSE-UP of the Masqueraders walking.

PANEL 8.

Narrow.

Blood flying.


104

Issue #1Page 27



28

PAGE TWENTY SEVEN (four panels)


PANEL 1.

Raining. His cigarette falling midair.

PANEL 2.

Raining. His cigarette lands in a puddle.

PANEL 3.

Raining. The puddle fills with Blood.

PANEL 4.

Raining. View from back of the Masqueraders walking away.


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28

PAGE TWENTY SEVEN (four panels)


PANEL 1.

Raining. His cigarette falling midair.

PANEL 2.

Raining. His cigarette lands in a puddle.

PANEL 3.

Raining. The puddle fills with Blood.

PANEL 4.

Raining. View from back of the Masqueraders walking away.


106

Issue #1Page 28



29

PAGE TWENTY EIGHT (three panels)


Panel 2 is taller than the other two Panels.

PANEL 1.

Raining. Pan out showing just an arm on the ground, the gang is

walking off in the distance.

MX (THOUGHT):

Gangland…

Panel 2.

Raining. Man is sprawled out on his back, beaten and bloody with

a white mask on his face. A pool of blood mixing with rain

puddles.

MX (THOUGHT):

…Population: Thirty three thousand, four hundred, and sixty one.

Panel 3.

Raining. CLOSE-UP of the mask Masq. Leader’s mask.

THE END


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29



Panel 2 is taller than the other two Panels.

PANEL 1.

Raining. Pan out showing just an arm on the ground, the gang is

walking off in the distance.

MX (THOUGHT):

Gangland…

Panel 2.

Raining. Man is sprawled out on his back, beaten and bloody with

a white mask on his face. A pool of blood mixing with rain

puddles.

MX (THOUGHT):

…Population: Thirty three thousand, four hundred, and sixty one.

Panel 3.

Raining. CLOSE-UP of the mask Masq. Leader’s mask.

THE END


108



“LOST BOYS”

SCRIPT (ISSUE #2)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

109109

LOST BOYS

THE JOURNEY



“LOST BOYS”

SCRIPT (ISSUE #2)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

110



2

PAGE ONE (three panels)

CREDITS PAGE

PANEL 1.

OVER HEAD-VIEW of Harbour City.

PANEL 2.

FRONT-VIEW of an apartment building with a fire escape routes on

the side.

PANEL 3.

CLOSE-UP of a window to the apartment building.



3

PAGE TWO (four panels)

PANEL 1.

FRONT-VIEW through a window of an apartment building. Vaguely

see three people sitting at a dinning table together.

PANEL 2.

FRONT-VIEW of JR is sitting at a dining table with his mother

and father. Mother on the left, JR in the middle, and the father

on the right. JR’s father is reading a newspaper. JR is in full

pajama shirt and trousers. With slippers if seen. Mother is

business-casual. She has fine curly hair a ponytail. Father is

business-casual. Simple short hair with a lip-length moustache.

PANEL 3.

CLOSE-UP of JR’s father lowering his newspaper to reveal the top

half of his face.

PANEL 4.

JR’s POV looking down at a plate of food. Sausage, bacon, egg

beans, hash browns.

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2


CREDITS PAGE

PANEL 1.

OVER HEAD-VIEW of Harbour City.

PANEL 2.

FRONT-VIEW of an apartment building with a fire escape routes on

the side.

PANEL 3.

CLOSE-UP of a window to the apartment building.



3


PANEL 1.

FRONT-VIEW through a window of an apartment building. Vaguely

see three people sitting at a dinning table together.

PANEL 2.

FRONT-VIEW of JR is sitting at a dining table with his mother

and father. Mother on the left, JR in the middle, and the father

on the right. JR’s father is reading a newspaper. JR is in full

pajama shirt and trousers. With slippers if seen. Mother is

business-casual. She has fine curly hair a ponytail. Father is

business-casual. Simple short hair with a lip-length moustache.

PANEL 3.

CLOSE-UP of JR’s father lowering his newspaper to reveal the top

half of his face.

PANEL 4.

JR’s POV looking down at a plate of food. Sausage, bacon, egg

beans, hash browns.

112



4

PAGE THREE (five panels)

PANEL 1.

FRONT-VIEW of JR is sitting at the table with a fork heading to

his mouth. His eyes are downcast.

PANEL 2.

CLOSE-UP of JR’s mother stood up at the end of the holding her

plate in hand.

PANEL 3.

FRONT-VIEW of JR sitting at the dining table with a glass of

orange juice to his lips. His eyes are downcast. His mother is

seen with the palm of her hand on his head. Only the mother’s

torso upto below her eyes are in frame.

PANEL 4.

CLOSE-UP of JR’s face. Only showing below his eyes and the cup

to his mouth.

PANEL 5.

Blacked out panel.

NEWS ANCHOR (OP):

“—dead body found in streets, during the early hours of the

morning.”



5

PAGE FOUR (three panels)

PANEL 1.

BACK-VIEW of the dining table. JR and the father are looking at

the television, while sitting on the dining table. JR in the

middle.

The father on the right. There is a sofa in front of the wall

mounted TV. There are two sofa chairs either side of the sofa.

PANEL 2.

CLOSE-UP of the TV screen.

A news anchor is sitting at a desk.

PANEL 3.

CLOSE-UP of JR’s cup of juice toppled over on the table.

JR (OP):

…No…

113113

LOST BOYS

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4


PANEL 1.

FRONT-VIEW of JR is sitting at the table with a fork heading to

his mouth. His eyes are downcast.

PANEL 2.

CLOSE-UP of JR’s mother stood up at the end of the holding her

plate in hand.

PANEL 3.

FRONT-VIEW of JR sitting at the dining table with a glass of

orange juice to his lips. His eyes are downcast. His mother is

seen with the palm of her hand on his head. Only the mother’s

torso upto below her eyes are in frame.

PANEL 4.

CLOSE-UP of JR’s face. Only showing below his eyes and the cup

to his mouth.

PANEL 5.

Blacked out panel.

NEWS ANCHOR (OP):

“—dead body found in streets, during the early hours of the

morning.”



5

PAGE FOUR (three panels)

PANEL 1.

BACK-VIEW of the dining table. JR and the father are looking at

the television, while sitting on the dining table. JR in the

middle.

The father on the right. There is a sofa in front of the wall

mounted TV. There are two sofa chairs either side of the sofa.

PANEL 2.

CLOSE-UP of the TV screen.

A news anchor is sitting at a desk.

PANEL 3.

CLOSE-UP of JR’s cup of juice toppled over on the table.

JR (OP):

…No…

114



6

PAGE FIVE (five panels)

PANEL 1.

FRONT-VIEW outside a block of flats.

PANEL 2.

CLOSE-UP of hands holding and biting a sandwich.

PANEL 3.

FRONT-VIEW of GT sitting on a sofa bed eating a sandwich. He is

in a baggy t-shirt and tracksuit bottoms, bare foot.

PANEL 4.

GT’s mother’s POV looking at GT through a doorway.

PANEL 5.

BACK-VIEW of. A woman leans against a doorway. She is in a tank

top and leopard print tight trousers. Necklace, wrist bracelets

and hooped earrings. She has frizzy curly hair.



7

PAGE SIX (five panels)

PANEL 1.

FRONT-VIEW of GT lower his sandwich and look up.

PANEL 2.

BACK-VIEW of the woman as she approaches GT and leans down.

PANEL 3.

CLOSE-UP BACK-VIEW of the woman. The woman is mostly out of

frame.

Her arm is outstretched and the palm of her hand is on GT’s

cheek.

PANEL 4.

CLOSE-UP of GT’s smiling face while the hand caresses his face.

PANEL 5.

CLOSE-UP of GT mouth with no smile.

115115

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6

PAGE FIVE (five panels)

PANEL 1.

FRONT-VIEW outside a block of flats.

PANEL 2.

CLOSE-UP of hands holding and biting a sandwich.

PANEL 3.

FRONT-VIEW of GT sitting on a sofa bed eating a sandwich. He is

in a baggy t-shirt and tracksuit bottoms, bare foot.

PANEL 4.

GT’s mother’s POV looking at GT through a doorway.

PANEL 5.

BACK-VIEW of. A woman leans against a doorway. She is in a tank

top and leopard print tight trousers. Necklace, wrist bracelets

and hooped earrings. She has frizzy curly hair.



7


PANEL 1.

FRONT-VIEW of GT lower his sandwich and look up.

PANEL 2.

BACK-VIEW of the woman as she approaches GT and leans down.

PANEL 3.

CLOSE-UP BACK-VIEW of the woman. The woman is mostly out of

frame.

Her arm is outstretched and the palm of her hand is on GT’s

cheek.

PANEL 4.

CLOSE-UP of GT’s smiling face while the hand caresses his face.

PANEL 5.

CLOSE-UP of GT mouth with no smile.

116



8

PAGE SEVEN (five panels)

PANEL 1.

BACK-VIEW of the woman as she walks through the front door.

Se is mostly out of frame as she closes the door behind her.

PANEL 2.

WIDE-VIEW of GT standing in the living room alone. His arm is

limp as if just finished waving.

PANEL 3.

OVER HEAD-VIEW of GT stand in the living room alone.

PANEL 4.

GT’s POV looking to the left at the kitchen. The sink is

overflowing with dishes. There is a small TV sitting on the

kitchen counter.

PANEL 5.

CLOSE-UP of the TV screen. A news anchor is sitting at a desk.

NEWS ANCHOR (OP):

“—no witnesses at the moment. But the one who called it in—”



9


PANEL 1.

WIDE-VIEW of the streets of China Town. Downstairs restaurant

and apartment above it are in view.

PANEL 2.

WIDE-VIEW of a bedroom. There is a bunk bed and two sleeping

bags on the floor, facing opposite ends.

PANEL 3.

FRONT-VIEW of the top bunk. KC under the covers, facing the

wall.

PANEL 4.

CLOSE-UP of KC’s scrunched up closed eyes.

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8


PANEL 1.

BACK-VIEW of the woman as she walks through the front door.

Se is mostly out of frame as she closes the door behind her.

PANEL 2.

WIDE-VIEW of GT standing in the living room alone. His arm is

limp as if just finished waving.

PANEL 3.

OVER HEAD-VIEW of GT stand in the living room alone.

PANEL 4.

GT’s POV looking to the left at the kitchen. The sink is

overflowing with dishes. There is a small TV sitting on the

kitchen counter.

PANEL 5.


NEWS ANCHOR (OP):

“—no witnesses at the moment. But the one who called it in—”



9


PANEL 1.

WIDE-VIEW of the streets of China Town. Downstairs restaurant

and apartment above it are in view.

PANEL 2.

WIDE-VIEW of a bedroom. There is a bunk bed and two sleeping

bags on the floor, facing opposite ends.

PANEL 3.

FRONT-VIEW of the top bunk. KC under the covers, facing the

wall.

PANEL 4.

CLOSE-UP of KC’s scrunched up closed eyes.

118



10

PAGE NINE (six panels)

PANEL 1.

WIDE-VIEW of the Thai restaurant. Three children/teenage sized

people are setting tables, in white kitchen uniforms. Behind

them show KC standing at the bottom of a staircase through a

doorway in the distance. She has a white shirt, white apron and

white trousers on.

PANEL 2.

FRONT-VIEW of KC standing at the bottom of some stairs.

PANEL 3.

KC’s unless POV of KC from the top of the stairs.

PANEL 4.

FRONT-VIEW. A man in a white kitchen uniform runs down the

stairs. KC stands to the side of the doorway at the base of the

stairs.

PANEL 5.

WIDE-VIEW of the restaurant, the man is arguing with the others

setting the tables.

PANEL 6.

CLOSE-UP of KC looking clutching the doorway.



11

PAGE TEN (six panels)

PANEL 1.

BACK-VIEW of KC sitting on a chair in the restaurant, wearing an

apron and a back-pack.

PANEL 2.

SIDE-VIEW of KC eating an apple.

PANEL 3.

KC’s POV looking at the empty restaurant. There is a TV in the

top left corner of the room.

PANEL 4.

FRONT-VIEW of KC look up while chewing.

PANEL 5.


PANEL 6.

CLOSE-UP of the apple falling to the floor. See KC’s legs

dangling on the chair.

119119

LOST BOYS

THE JOURNEY



10

PAGE NINE (six panels)

PANEL 1.

WIDE-VIEW of the Thai restaurant. Three children/teenage sized

people are setting tables, in white kitchen uniforms. Behind

them show KC standing at the bottom of a staircase through a

doorway in the distance. She has a white shirt, white apron and

white trousers on.

PANEL 2.

FRONT-VIEW of KC standing at the bottom of some stairs.

PANEL 3.

KC’s unless POV of KC from the top of the stairs.

PANEL 4.

FRONT-VIEW. A man in a white kitchen uniform runs down the

stairs. KC stands to the side of the doorway at the base of the

stairs.

PANEL 5.

WIDE-VIEW of the restaurant, the man is arguing with the others

setting the tables.

PANEL 6.

CLOSE-UP of KC looking clutching the doorway.



11

PAGE TEN (six panels)

PANEL 1.

BACK-VIEW of KC sitting on a chair in the restaurant, wearing an

apron and a back-pack.

PANEL 2.

SIDE-VIEW of KC eating an apple.

PANEL 3.

KC’s POV looking at the empty restaurant. There is a TV in the

top left corner of the room.

PANEL 4.

FRONT-VIEW of KC look up while chewing.

PANEL 5.


PANEL 6.

CLOSE-UP of the apple falling to the floor. See KC’s legs

dangling on the chair.

120



12


PANEL 1.

CLOSE-UP of the apple and apron on the floor. KC is seen running

through the front door of the restaurant in the distance.

PANEL 2.


NEWS ANCHOR (OP):

“—that another tragedy has befallen on our city so soon—”

PANEL 3.

CLOSE-UP of a dead body sprawled out with a mask on its face.

PANEL 4.

CLOSE-UP of the mask.

TEDD (OP):

Max! What-Where are you going!?



13

PAGE TWELVE (five panels)

PANEL 1.

SIDE-VIEW. Tedd is standing in front of a chair, at a dining

table. MX is seen standing with his back to Tedd at the other

end of the table. A chair behind MX is toppled over. MX is

wearing his fox uniform.

TEDD:

Max! Not now! What’s going on?

PANEL 2.

FRONT-VIEW of Tedd.

TEDD:

Do you know something about this?

PANEL 3.

BACK-VIEW of MX.

MX:

I need to go…

PANEL 4.

BACK-VIEW of MX turn his head over his shoulder slightly.

MX:

We need to deal with this!

PANEL 5.

BACK-VIEW of MX run out of the door of the dining room.

121121

LOST BOYS

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12


PANEL 1.

CLOSE-UP of the apple and apron on the floor. KC is seen running

through the front door of the restaurant in the distance.

PANEL 2.


NEWS ANCHOR (OP):

“—that another tragedy has befallen on our city so soon—”

PANEL 3.

CLOSE-UP of a dead body sprawled out with a mask on its face.

PANEL 4.

CLOSE-UP of the mask.

TEDD (OP):

Max! What-Where are you going!?



13


PANEL 1.

SIDE-VIEW. Tedd is standing in front of a chair, at a dining

table. MX is seen standing with his back to Tedd at the other

end of the table. A chair behind MX is toppled over. MX is

wearing his fox uniform.

TEDD:

Max! Not now! What’s going on?

PANEL 2.

FRONT-VIEW of Tedd.

TEDD:

Do you know something about this?

PANEL 3.

BACK-VIEW of MX.

MX:

I need to go…

PANEL 4.

BACK-VIEW of MX turn his head over his shoulder slightly.

MX:

We need to deal with this!

PANEL 5.

BACK-VIEW of MX run out of the door of the dining room.

122



14


PANEL 1.

CLOSE-UP as MX grabs his bat from the umbrella holder next to

the door.

TEDD (OP):

Who’s we? Max!

PANEL 2.

CLOSE-UP of MX grabbing the door handle.

PANEL 3.

CLOSE-UP. Tedd’s hand slams in the middle of the door.

TEDD (OP):

Listen to me!

PANEL 4.

BACK-VIEW. Tedd stands behind MX as he holds onto the door

handle

TEDD:

No! Not again. Just tell me what’s going on.



15

PAGE FOURTEEN (five panels)

PANEL 1.

MX’s POV looking up at a distressed Tedd.

TEDD:

Why do you keep doing this to yourself? To us?

PANEL 2.

SIDE-VIEW. MX’s upper body, still holding the door handle. His

eyes are downcast and shadowed out. Tedd stands behind him with

his hand on the door, looking down at MX.

TEDD (OP):

We’re supposed to be a family now. Whatever it is, we can help

you.

PANEL 3.

CLOSE-UP of MX’s mouth.

MX:

But we’re not…

PANEL 4.

MX’s POV looking up at a Tedd, Tedd looks disappointed.

MX (OP):

We’re not family.

PANEL 5.

CLOSE-UP of MX’s hand turning the door handle.

MX:

Now let me go.

123123

LOST BOYS

THE JOURNEY



14


PANEL 1.

CLOSE-UP as MX grabs his bat from the umbrella holder next to

the door.

TEDD (OP):

Who’s we? Max!

PANEL 2.

CLOSE-UP of MX grabbing the door handle.

PANEL 3.

CLOSE-UP. Tedd’s hand slams in the middle of the door.

TEDD (OP):

Listen to me!

PANEL 4.

BACK-VIEW. Tedd stands behind MX as he holds onto the door

handle

TEDD:

No! Not again. Just tell me what’s going on.



15


PANEL 1.

MX’s POV looking up at a distressed Tedd.

TEDD:

Why do you keep doing this to yourself? To us?

PANEL 2.

SIDE-VIEW. MX’s upper body, still holding the door handle. His

eyes are downcast and shadowed out. Tedd stands behind him with

his hand on the door, looking down at MX.

TEDD (OP):

We’re supposed to be a family now. Whatever it is, we can help

you.

PANEL 3.


MX:

But we’re not…

PANEL 4.

MX’s POV looking up at a Tedd, Tedd looks disappointed.

MX (OP):

We’re not family.

PANEL 5.

CLOSE-UP of MX’s hand turning the door handle.

MX:

Now let me go.

124



16

PAGE FIFTEEN (five panels)

PANEL 1.

SIDE-VIEW of Tedd standing back from the door. The door is wide

open.

PANEL 2.

Tedd’s POV looking out of the door. MX is seen at the bottom of

the stairs, about to run to the left.

PANEL 3.

BACK-VIEW of MX running down the road.

PANEL 4.

CLOSE-UP of Tedd’s face.

TEDD (WHISPERS):

Please, Max…

PANEL 5.

CLOSE-UP of MX’s face.

TEDD (OP):

…just come back…



17


PANEL 1.

OVER HEAD-VIEW of MX running down the road into the city.

PANEL 2.

WIDE-VIEW of the City Skyline.

PANEL 3.

OVER HEAD-VIEW of a black car driving down a road in the

distance.

PANEL 4.

Zoom closer to the top of the car.

125125

LOST BOYS

THE JOURNEY



16

PAGE FIFTEEN (five panels)

PANEL 1.

SIDE-VIEW of Tedd standing back from the door. The door is wide

open.

PANEL 2.

Tedd’s POV looking out of the door. MX is seen at the bottom of

the stairs, about to run to the left.

PANEL 3.

BACK-VIEW of MX running down the road.

PANEL 4.

CLOSE-UP of Tedd’s face.

TEDD (WHISPERS):

Please, Max…

PANEL 5.

CLOSE-UP of MX’s face.

TEDD (OP):

…just come back…



17


PANEL 1.

OVER HEAD-VIEW of MX running down the road into the city.

PANEL 2.

WIDE-VIEW of the City Skyline.

PANEL 3.

OVER HEAD-VIEW of a black car driving down a road in the

distance.

PANEL 4.

Zoom closer to the top of the car.

126



18

PAGE SEVENTEEN (six panels)

PANEL 1.

SIDE-VIEW of JR seated at the back of a car.

PANEL 2.

CLOSE-UP of JR’s face.

JR (THOUGHT):

I should’ve told them already.

PANEL 3.

SIDE-VIEW of JR seated at a desk in a classroom. He is in a

black school uniform. Black blazer, black tie, white shirt,

black shorts, black shoes.

PANEL 4.


JR (THOUGHT):

It’s not right. It’s not who I wanted to be.

PANEL 5.

FRONT-VIEW of JR walking down hallway in school.

JR (THOUGHT):

I shouldn’t have gotten myself caught up in all of this.

PANEL 6.

CLOSE-UP of JR’s mouth.

JR (THOUGHT):

We’re in way over our heads.



19

PAGE EIGHTEEN (six panels)

PANEL 1.

BACK-VIEW of a person falling. JR stands in a fighting pose

ahead of him, in a white karate uniform.

PANEL 2.

OVER HEAD-VIEW of the martial arts practice room. Students watch

as JR fighting the other student.

PANEL 3.

BACK-VIEW of JR walking away towards the locker room.

JR (THOUGHT):

It was just a stupid game.

PANEL 4.

SIDE-VIEW of JR’s face.

JR (THOUGHT):

Things got out hand far too quick. We lost control.

PANEL 5.

SIDE-VIEW of JR stand in front of an open locker. He is in a

vest and boxer shorts and socks.

JR (THOUGHT):

We couldn’t even admit that things were different. But they

were…WE were.

PANEL 6.

JR’s POV as he looks down at himself. He is wearing his lost

boys uniform

JR (THOUGHT):

We became something else entirely.

127127

LOST BOYS

THE JOURNEY



18

PAGE SEVENTEEN (six panels)

PANEL 1.

SIDE-VIEW of JR seated at the back of a car.

PANEL 2.


JR (THOUGHT):

I should’ve told them already.

PANEL 3.

SIDE-VIEW of JR seated at a desk in a classroom. He is in a

black school uniform. Black blazer, black tie, white shirt,

black shorts, black shoes.

PANEL 4.


JR (THOUGHT):

It’s not right. It’s not who I wanted to be.

PANEL 5.

FRONT-VIEW of JR walking down hallway in school.

JR (THOUGHT):

I shouldn’t have gotten myself caught up in all of this.

PANEL 6.

CLOSE-UP of JR’s mouth.

JR (THOUGHT):

We’re in way over our heads.



19

PAGE EIGHTEEN (six panels)

PANEL 1.

BACK-VIEW of a person falling. JR stands in a fighting pose

ahead of him, in a white karate uniform.

PANEL 2.

OVER HEAD-VIEW of the martial arts practice room. Students watch

as JR fighting the other student.

PANEL 3.

BACK-VIEW of JR walking away towards the locker room.

JR (THOUGHT):

It was just a stupid game.

PANEL 4.

SIDE-VIEW of JR’s face.

JR (THOUGHT):

Things got out hand far too quick. We lost control.

PANEL 5.

SIDE-VIEW of JR stand in front of an open locker. He is in a

vest and boxer shorts and socks.

JR (THOUGHT):

We couldn’t even admit that things were different. But they

were…WE were.

PANEL 6.

JR’s POV as he looks down at himself. He is wearing his lost

boys uniform

JR (THOUGHT):

We became something else entirely.

128



20


PANEL 1.

OVER HEAD-VIEW of the abandoned park. JR is walking through the

park, towards a playhouse.

JR (THOUGHT):

Look at me now. I never wanted any of this.

PANEL 2.

BACK-VIEW of JR crouching through the playhouse door.

JR (THOUGHT):

I just wanted to be something. Something I can call my own.

Something other than…perfect.

PANEL 3.

Playhouse INTERIOR.

BACK-VIEW of JR crouched over a sewer hole entrance in the

floor.

JR (THOUGHT):

The violence, the bullying…it was never apart of the plan.

PANEL 4.

CLOSE-UP of JR up through the hole.

JR (THOUGHT):

…Not mine…

PANEL 5.

JR’s POV looking down the hole at MX and the Lost Boys below.

JR (THOUGHT):

…It was his.

MX:

You’re late.



21

PAGE TWENTY (five panels)

PANEL 1.

BACK-VIEW of lost boys all standing in the cave, watching JR

climb down the ladder.

PANEL 2.

JR stands on the ground facing the ladder.

JR (THOUGHT):

It was always his ‘plan’.

PANEL 3.

FRONT-VIEW of JR as he turns around.

JR (THOUGHT):

This ends tonight.

PANEL 4.

JR’s POV of the lost boys looking at him. MX has his arms

crossed. KC has her right arm on her hip. Other arm is hanging

down. GT stands with his arms by his side.

PANEL 5.

CLOSE-UP of MX.

MX:

We’re have you been? We need to deal. Now.

129129

LOST BOYS

THE JOURNEY



20


PANEL 1.

OVER HEAD-VIEW of the abandoned park. JR is walking through the

park, towards a playhouse.

JR (THOUGHT):

Look at me now. I never wanted any of this.

PANEL 2.

BACK-VIEW of JR crouching through the playhouse door.

JR (THOUGHT):

I just wanted to be something. Something I can call my own.

Something other than…perfect.

PANEL 3.

Playhouse INTERIOR.

BACK-VIEW of JR crouched over a sewer hole entrance in the

floor.

JR (THOUGHT):

The violence, the bullying…it was never apart of the plan.

PANEL 4.

CLOSE-UP of JR up through the hole.

JR (THOUGHT):

…Not mine…

PANEL 5.

JR’s POV looking down the hole at MX and the Lost Boys below.

JR (THOUGHT):

…It was his.

MX:

You’re late.



21


PANEL 1.

BACK-VIEW of lost boys all standing in the cave, watching JR

climb down the ladder.

PANEL 2.

JR stands on the ground facing the ladder.

JR (THOUGHT):

It was always his ‘plan’.

PANEL 3.

FRONT-VIEW of JR as he turns around.

JR (THOUGHT):

This ends tonight.

PANEL 4.

JR’s POV of the lost boys looking at him. MX has his arms

crossed. KC has her right arm on her hip. Other arm is hanging

down. GT stands with his arms by his side.

PANEL 5.

CLOSE-UP of MX.

MX:

We’re have you been? We need to deal. Now.

130



22

PAGE TWENTY ONE (five panels)

PANEL 1.

SIDE-VIEW of JR facing MX and the Lost Boys.

MX:

Somethin’ big’s gon down. A major step into our territory.

PANEL 2.

CLOSE-UP of MX turning his back to walk to his seat.

MX:

We need to decide what we’re gonna do ‘bout it.

PANEL 3.

FRONT-VIEW of GT sit onto his mat cross legged.

PANEL 4.

SIDE-VIEW of MX slump into his bean chair.



23


PANEL 1.

BACK-VIEW of KC approaching JR standing in front of the ladder.

PANEL 2.

CLOSE-UP of KC holding onto JR’s hands with two hands.

PANEL 3.

SIDE-VIEW of KC’s looking at JR.

MX (OP):

K? What’s the matter? Let’s start.

PANEL 4.

JR’s POV of KC.

PANEL 5.

KC’s POV of JR.

131131

LOST BOYS

THE JOURNEY



22


PANEL 1.

SIDE-VIEW of JR facing MX and the Lost Boys.

MX:

Somethin’ big’s gon down. A major step into our territory.

PANEL 2.

CLOSE-UP of MX turning his back to walk to his seat.

MX:

We need to decide what we’re gonna do ‘bout it.

PANEL 3.

FRONT-VIEW of GT sit onto his mat cross legged.

PANEL 4.

SIDE-VIEW of MX slump into his bean chair.



23


PANEL 1.

BACK-VIEW of KC approaching JR standing in front of the ladder.

PANEL 2.

CLOSE-UP of KC holding onto JR’s hands with two hands.

PANEL 3.

SIDE-VIEW of KC’s looking at JR.

MX (OP):

K? What’s the matter? Let’s start.

PANEL 4.

JR’s POV of KC.

PANEL 5.

KC’s POV of JR.

132



24


PANEL 1.

OVER HEAD-VIEW of the cave. KC walks to her seat. MX iss lumped

in his bean bag.

PANEL 2.

CLOSE-UP of MX.

MX:

J? Let’s go.

JR (OP):

No.

PANEL 3.

MX sits up frowning.

MX:

What was that?

PANEL 4.

MX’s POV looking up at JR.

PANEL 5.


JR:

I’m done.



25

PAGE TWENTY FOUR (three panels)

PANEL 1.

Front view of MX standing with his eyes closed, smirking.

MX:

Look, ‘Jerome’—

JR:

NO. I’m done.

PANEL 2.

CLOSE-UP of MX’s face. He’s glaring at JR.

PANEL 3.

Large Panel.

SIDE-VIEW of JR facing MX. They’re both screaming at each other.

MX’s arms are up in the air.

JR:

I said I’m done. I’m not interested in getting caught up in all

this. Let alone a murder. We’re Just KIDS Max!

MX:

Bullshit, Jerome! You knew what this was when you joined! And

you took part in your own share of violence, just like the rest

of us. Don’t try and act all high and mighty this far into the

game.

JR:

It’s not a game Max. It never was. And we shouldn’t be playing.

MX:

…

JR:

And now the real players are at our doorstep. We need to quit.

ALL of us. I’m leaving, now. And I hope the rest of you will do

the same.

133133

LOST BOYS

THE JOURNEY



24


PANEL 1.

OVER HEAD-VIEW of the cave. KC walks to her seat. MX iss lumped

in his bean bag.

PANEL 2.

CLOSE-UP of MX.

MX:

J? Let’s go.

JR (OP):

No.

PANEL 3.

MX sits up frowning.

MX:

What was that?

PANEL 4.

MX’s POV looking up at JR.

PANEL 5.


JR:

I’m done.



25


PANEL 1.

Front view of MX standing with his eyes closed, smirking.

MX:

Look, ‘Jerome’—

JR:

NO. I’m done.

PANEL 2.

CLOSE-UP of MX’s face. He’s glaring at JR.

PANEL 3.

Large Panel.

SIDE-VIEW of JR facing MX. They’re both screaming at each other.

MX’s arms are up in the air.

JR:

I said I’m done. I’m not interested in getting caught up in all

this. Let alone a murder. We’re Just KIDS Max!

MX:

Bullshit, Jerome! You knew what this was when you joined! And

you took part in your own share of violence, just like the rest

of us. Don’t try and act all high and mighty this far into the

game.

JR:

It’s not a game Max. It never was. And we shouldn’t be playing.

MX:

…

JR:

And now the real players are at our doorstep. We need to quit.

ALL of us. I’m leaving, now. And I hope the rest of you will do

the same.

134



26


PANEL 1.

BACK-VIEW of the cave. JR is climbing back up the ladder. The

others stand around looking at JR.

PANEL 2.

OVER HEAD-VIEW of JR climbing up the ladder. See the Lost Boys

below.

PANEL 3.

OVER HEAD-VIEW CLOSE-UP of KC looking up.

JR (THOUGHT):

Sorry, KC…

PANEL 4.

CLOSE-UP of JR as he climbs nearing the top. Barely see the Lost

Boys below.

JR (THOUGHT):

…I’m out.



27

PAGE TWENTY SIX (five panels)

PANEL 1.

Playhouse INTERIOR.

See JR’s hand reaching the top.

See someone’s foot outside the door of the playhouse.

PANEL 2.

CLOSE-UP of a Masquerader’s leg.

PANEL 3.

FRONT-VIEW of a Masquerader’s upper body. He is grabbing the

collar of a boy who was beaten up in the bathroom from the gang

in the previous issue.

RIVAL GANG MEMBER:

…It’s here.

PANEL 4.

OVER HEAD-VIEW of the abandoned park from above. The

Masqueraders are surrounding the playhouse. Three members are

holding metal bats in hand.

One member is holding the boy. One member, the leader, has his

hands in his pockets.

PANEL 5.

CLOSE-UP of a Masq. Leader’s masked face.

MASQ. LEADER:

Showtime.

THE END

135135

LOST BOYS

THE JOURNEY



26


PANEL 1.

BACK-VIEW of the cave. JR is climbing back up the ladder. The

others stand around looking at JR.

PANEL 2.

OVER HEAD-VIEW of JR climbing up the ladder. See the Lost Boys

below.

PANEL 3.

OVER HEAD-VIEW CLOSE-UP of KC looking up.

JR (THOUGHT):

Sorry, KC…

PANEL 4.

CLOSE-UP of JR as he climbs nearing the top. Barely see the Lost

Boys below.

JR (THOUGHT):

…I’m out.



27


PANEL 1.

Playhouse INTERIOR.

See JR’s hand reaching the top.

See someone’s foot outside the door of the playhouse.

PANEL 2.

CLOSE-UP of a Masquerader’s leg.

PANEL 3.

FRONT-VIEW of a Masquerader’s upper body. He is grabbing the

collar of a boy who was beaten up in the bathroom from the gang

in the previous issue.

RIVAL GANG MEMBER:

…It’s here.

PANEL 4.

OVER HEAD-VIEW of the abandoned park from above. The

Masqueraders are surrounding the playhouse. Three members are

holding metal bats in hand.

One member is holding the boy. One member, the leader, has his

hands in his pockets.

PANEL 5.

CLOSE-UP of a Masq. Leader’s masked face.

MASQ. LEADER:

Showtime.

THE END

136



“LOST BOYS”

SCRIPT (ISSUE #3)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

137137

LOST BOYS

THE JOURNEY



“LOST BOYS”

SCRIPT (ISSUE #3)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

138



2


CREDITS PAGE

PANEL 1.

OVER HEAD-VIEW of the Lost Boys in the cave.

PANEL 2.

FRONT-VIEW of JR climbing up ladder out of hole in the

playhouse.

PANEL 3.

CLOSE-UP of the Masq. Leader’s mask.

MASQ. LEADER:

Showtime.



3


PANEL 1.

FRONT-VIEW of MX walking forwards. He looks furious.

MX:

Screw him. We don’t need him anyway. If he doesn’t want to be

here…then fuck ‘em.

PANEL 2.

SIDE-VIEW of MX pacing in front of GT and KC. GT looks worried

while fiddling with his fingers. KC stands with her arms folded

looking firmly at MX.

PANEL 3.

CLOSE-UP of KC as she stares at MX.

PANEL 4.

CLOSE-UP of MX stopping and turning to face KC.

MX:

…What?

139139

LOST BOYS

THE JOURNEY



2


CREDITS PAGE

PANEL 1.

OVER HEAD-VIEW of the Lost Boys in the cave.

PANEL 2.

FRONT-VIEW of JR climbing up ladder out of hole in the

playhouse.

PANEL 3.

CLOSE-UP of the Masq. Leader’s mask.

MASQ. LEADER:

Showtime.



3


PANEL 1.

FRONT-VIEW of MX walking forwards. He looks furious.

MX:

Screw him. We don’t need him anyway. If he doesn’t want to be

here…then fuck ‘em.

PANEL 2.

SIDE-VIEW of MX pacing in front of GT and KC. GT looks worried

while fiddling with his fingers. KC stands with her arms folded

looking firmly at MX.

PANEL 3.

CLOSE-UP of KC as she stares at MX.

PANEL 4.

CLOSE-UP of MX stopping and turning to face KC.

MX:

…What?

140



4


PANEL 1.

FRONT-VIEW of JR crouching just in front of the cave entrance,

evaluating the situation.

MX (OP):

WHAT?!

PANEL 2.

JR’s POV of the playhouse door. He’s see’s a leg outside.

PANEL 3.

CLOSE-UP of JR crouch down further.

JR (WHISPERS):

Shit.

MASQ. LEADER (OP):

Don’t be shy! We just wanna talk. But first things First…

PANEL 4.

CLOSE-UP blur as metal bat swings

PANEL 5.

CLOSE-UP of JR looking around terrified.



5

PAGE FOUR (six panels)

PANEL 1.

Small Panel.

CLOSE-UP of a Masquerader strike the playhouse with a metal bat.

PANEL 2.

Small Panel.


PANEL 3.

Small Panel.


PANEL 4.

OVER HEAD-VIEW three Masqueraders surrounding the playhouse,

striking with their bats. Two other members watch from behind.

One member is holding the boy, while the Masq. Leader stands

with his hands in his pockets.

PANEL 5.

SIDE-VIEW of the Masq. Leader’s face. Partially se his face

beneath his mask.

PANEL 6.

The Rival Gang Member’s face from the side. He looks incredibly

tense and terrified. See his collar is still being gripped

tightly by his apprehender.

141141

LOST BOYS

THE JOURNEY



4


PANEL 1.

FRONT-VIEW of JR crouching just in front of the cave entrance,

evaluating the situation.

MX (OP):

WHAT?!

PANEL 2.

JR’s POV of the playhouse door. He’s see’s a leg outside.

PANEL 3.

CLOSE-UP of JR crouch down further.

JR (WHISPERS):

Shit.

MASQ. LEADER (OP):

Don’t be shy! We just wanna talk. But first things First…

PANEL 4.

CLOSE-UP blur as metal bat swings

PANEL 5.

CLOSE-UP of JR looking around terrified.



5

PAGE FOUR (six panels)

PANEL 1.

Small Panel.


PANEL 2.

Small Panel.


PANEL 3.

Small Panel.


PANEL 4.

OVER HEAD-VIEW three Masqueraders surrounding the playhouse,

striking with their bats. Two other members watch from behind.

One member is holding the boy, while the Masq. Leader stands

with his hands in his pockets.

PANEL 5.

SIDE-VIEW of the Masq. Leader’s face. Partially se his face

beneath his mask.

PANEL 6.

The Rival Gang Member’s face from the side. He looks incredibly

tense and terrified. See his collar is still being gripped

tightly by his apprehender.

142



6

PAGE FIVE (four panels)

PANEL 1.

CAVE INTERIOR.

SIDE-VIEW of the Lost Boys notice something above.

KC:

What the hell IS that?

PANEL 2.

CLOSE-UP of MX looking up.

MX:

Trouble.

PANEL 3.

SIDE-VIEW of JR jumping down the hole.

PANEL 4.

JR’s POV of the Lost Boys below.



7


PANEL 1.

CAVE INTERIOR.

SIDE-VIEW of GT diving to catch JR.

GT skids across the ground on his side with his arms up.

PANEL 2.

FRONT-VIEW of JR land on top of GT, who catches him in an

embrace.

PANEL 3.

CLOSE-UP of JR, pushing himself up. Squinting as if in pain.

JR:

Ugh…thanks, GT…

KC (OP):

LOOK OUT!

PANEL 4.

OVER HEAD-VIEW as piece of the playhouse debris falls towards

MX.

143143

LOST BOYS

THE JOURNEY



6


PANEL 1.

CAVE INTERIOR.

SIDE-VIEW of the Lost Boys notice something above.

KC:


PANEL 2.


MX:

Trouble.

PANEL 3.

SIDE-VIEW of JR jumping down the hole.

PANEL 4.

JR’s POV of the Lost Boys below.



7


PANEL 1.

CAVE INTERIOR.

SIDE-VIEW of GT diving to catch JR.

GT skids across the ground on his side with his arms up.

PANEL 2.

FRONT-VIEW of JR land on top of GT, who catches him in an

embrace.

PANEL 3.

CLOSE-UP of JR, pushing himself up. Squinting as if in pain.

JR:

Ugh…thanks, GT…

KC (OP):

LOOK OUT!

PANEL 4.

OVER HEAD-VIEW as piece of the playhouse debris falls towards

MX.

144



8

PAGE SEVEN (four panels)

PANEL 1.

OVER HEAD-VIEW of the Masqueraders standing around the cave hole

entrance. The playhouse debris is scattered them.

PANEL 2.

SIDE-VIEW of the Masq. Leader.

PANEL 3.

View behind the Masq. Leader walk towards the cave hole

entrance.

PANEL 4.

SIDE-VIEW of the Masq. Leader standing over the cave hole

entrance. His hands are in his pockets.



9


PANEL 1.

SIDE-VIEW of the Masq. Leader bend over, leaning face-down as he

looks down the hole. His hands are in his pockets.

MASQ. LEADER:

Mister Silverstone has a message for you…‘kids’.

PANEL 2.

Lost boys POV looking up at the Masq. Leader looking down.

MASQ. LEADER:

You’re done.

PANEL 3.

Masq. Leader’s POV, looking down at the Lost Boys in the cave.

MX is on his ground next to apiece of the playhouse debris,

clutching his right arm. KC kneels next to MX. GT is helping JR

stand.

MASQ. LEADER (OP):

Game over.

PANEL 4.

CLOSE-UP of the Masq. Leader’s masked face.

MASQ. LEADER:

Go home.

145145

LOST BOYS

THE JOURNEY



8


PANEL 1.

OVER HEAD-VIEW of the Masqueraders standing around the cave hole

entrance. The playhouse debris is scattered them.

PANEL 2.

SIDE-VIEW of the Masq. Leader.

PANEL 3.

View behind the Masq. Leader walk towards the cave hole

entrance.

PANEL 4.

SIDE-VIEW of the Masq. Leader standing over the cave hole

entrance. His hands are in his pockets.



9


PANEL 1.

SIDE-VIEW of the Masq. Leader bend over, leaning face-down as he

looks down the hole. His hands are in his pockets.

MASQ. LEADER:


PANEL 2.

Lost boys POV looking up at the Masq. Leader looking down.

MASQ. LEADER:

You’re done.

PANEL 3.

Masq. Leader’s POV, looking down at the Lost Boys in the cave.

MX is on his ground next to apiece of the playhouse debris,

clutching his right arm. KC kneels next to MX. GT is helping JR

stand.

MASQ. LEADER (OP):

Game over.

PANEL 4.


MASQ. LEADER:

Go home.

146



10


PANEL 1.

CLOSE-UP of MX’s face, his eyes are downcast looking down.

MASQ. LEADER (OP):

No more gang.

PANEL 2.

CLOSE-UP of KC’s face, her eyes are downcast looking down.

MASQ. LEADER (OP):

No more ‘kigurumis’.

PANEL 3.

CLOSE-UP of GT’s face, his eyes are downcast looking down.

MASQ. LEADER (OP):

No more.

PANEL 4.

CLOSE-UP of the Masq. Leader’s masked face’s mouth.

MASQ. LEADER (OP):

You’re done.



11

PAGE TEN (four panels)

PANEL 1.

View behind the Masq. Leader bent over.

PANEL 2.

SIDE-VIEW CLOSE-UP of the Masq. Leader’s

PANEL 3.

View behind the Masq. Leader walk away from the cave hole

entrance.

See the other Masqueraders standing in front of him. One is

still holding the Rival Gang Member from earlier.

PANEL 4.

BACK-VIEW CLOSE-UP of the Masq. Leader. His right arm is raised,

gesturing behind him.

MASQ. LEADER:

Drop him.

147147

LOST BOYS

THE JOURNEY



10


PANEL 1.

CLOSE-UP of MX’s face, his eyes are downcast looking down.

MASQ. LEADER (OP):

No more gang.

PANEL 2.

CLOSE-UP of KC’s face, her eyes are downcast looking down.

MASQ. LEADER (OP):


PANEL 3.

CLOSE-UP of GT’s face, his eyes are downcast looking down.

MASQ. LEADER (OP):

No more.

PANEL 4.

CLOSE-UP of the Masq. Leader’s masked face’s mouth.

MASQ. LEADER (OP):

You’re done.



11


PANEL 1.

View behind the Masq. Leader bent over.

PANEL 2.

SIDE-VIEW CLOSE-UP of the Masq. Leader’s

PANEL 3.

View behind the Masq. Leader walk away from the cave hole

entrance.

See the other Masqueraders standing in front of him. One is

still holding the Rival Gang Member from earlier.

PANEL 4.

BACK-VIEW CLOSE-UP of the Masq. Leader. His right arm is raised,

gesturing behind him.

MASQ. LEADER:

Drop him.

148



12

PAGE ELEVEN (six panels)

PANEL 1.

View of the Rival Gang Member resisting being dragged. Only the

lower body of the Masqueraders dragging him is in view.

RIVAL GANG MEMBER:

He-HEY! W-w-wait!...I…I…

PANEL 2.

FRONT-VIEW of the Masq. Leader walking forwards with his hands

in his pockets. In background, see the other members standing

around. One member is dragging the boy upto the hole.

RIVAL GANG MEMBER:

HEY! No! Please, WAIT!

PANEL 3.

CLOSE-UP of the boy screaming.

RIVAL GANG MEMBER:

Please….don’t…

PANEL 4.

FRONT-VIEW of a Masquerader has his arm outstretched, holding

the boy over the hole.

PANEL 5.

Rival Gang Member’s POV looking up at the Masqueraders.

PANEL 6.

Masqueraders POV looking down at the Rival Gang Member.



13


PANEL 1.

CLOSE-UP of the Rival Gang Member falling down the hole.

See GT’s arms hands at the top of the ladder at the rim of the

cave hole entrance.

PANEL 2.

FRONT-VIEW of the Masqueraders walking forwards. The other

Masqueraders have their backs to the hole, walking forwards.

Spot GT leaping out of the hole in the background.

GT (THOUGHT):

I have to do this.

PANEL 3.

CLOSE-UP of GT leaping out of the hole.

GT (THOUGHT):

Now, More than ever.

PANEL 4.

CLOSE-UP of a Masquerader whipping his head around behind him.

149149

LOST BOYS

THE JOURNEY



12


PANEL 1.

View of the Rival Gang Member resisting being dragged. Only the

lower body of the Masqueraders dragging him is in view.

RIVAL GANG MEMBER:

He-HEY! W-w-wait!...I…I…

PANEL 2.

FRONT-VIEW of the Masq. Leader walking forwards with his hands

in his pockets. In background, see the other members standing

around. One member is dragging the boy upto the hole.

RIVAL GANG MEMBER:

HEY! No! Please, WAIT!

PANEL 3.

CLOSE-UP of the boy screaming.

RIVAL GANG MEMBER:

Please….don’t…

PANEL 4.

FRONT-VIEW of a Masquerader has his arm outstretched, holding

the boy over the hole.

PANEL 5.

Rival Gang Member’s POV looking up at the Masqueraders.

PANEL 6.

Masqueraders POV looking down at the Rival Gang Member.



13


PANEL 1.

CLOSE-UP of the Rival Gang Member falling down the hole.

See GT’s arms hands at the top of the ladder at the rim of the

cave hole entrance.

PANEL 2.

FRONT-VIEW of the Masqueraders walking forwards. The other

Masqueraders have their backs to the hole, walking forwards.

Spot GT leaping out of the hole in the background.

GT (THOUGHT):

I have to do this.

PANEL 3.

CLOSE-UP of GT leaping out of the hole.

GT (THOUGHT):

Now, More than ever.

PANEL 4.

CLOSE-UP of a Masquerader whipping his head around behind him.

150



14

PAGE THIRTEEN (five panels)

PANEL 1.

SIDE-VIEW of GT tackling the Masqueraders to the ground.

GT (THOUGHT):

I need to work twice as hard to protect us now.

PANEL 2.

SIDE-VIEW CLOSE-UP of the Masqueraders being pinned to the

ground by GT.

GT (THOUGHT):

Cos’ if JR leaves…

PANEL 3.

Back-view of the three other Masqueraders turning their heads

behind them.

GT (THOUGHT):

…then it’s up to me to pick up the slack.

PANEL 4.

OVER HEAD-VIEW of the three Masqueraders running towards GT.

GT (THOUGHT):

I’m strong! That’s how I can help! I can protect MX, like he

protected me.

PANEL 5.

Back-view CLOSE-UP of the Masq. Leader’s head turn to the side

slightly. Partially see his face behind the mask.



15


PANEL 1.

BACK-VIEW of GT punching a Masquerader.

GT (THOUGHT):

He needs me.

PANEL 2.

CLOSE-UP of GT punching a Masquerader.

GT (THOUGHT):

He said that I’m apart of the gang…

PANEL 3.

CLOSE-UP of GT’s face as he’s punching the Masquerader.

GT (THOUGHT):

…one of the team.

PANEL 4.

CLOSE-UP of A cracked mask fall to the ground with specks of

blood on it.

GT (THOUGHT):

He said that we’re a family…

151151

LOST BOYS

THE JOURNEY



14


PANEL 1.

SIDE-VIEW of GT tackling the Masqueraders to the ground.

GT (THOUGHT):

I need to work twice as hard to protect us now.

PANEL 2.

SIDE-VIEW CLOSE-UP of the Masqueraders being pinned to the

ground by GT.

GT (THOUGHT):

Cos’ if JR leaves…

PANEL 3.

Back-view of the three other Masqueraders turning their heads

behind them.

GT (THOUGHT):

…then it’s up to me to pick up the slack.

PANEL 4.

OVER HEAD-VIEW of the three Masqueraders running towards GT.

GT (THOUGHT):

I’m strong! That’s how I can help! I can protect MX, like he

protected me.

PANEL 5.

Back-view CLOSE-UP of the Masq. Leader’s head turn to the side

slightly. Partially see his face behind the mask.



15


PANEL 1.

BACK-VIEW of GT punching a Masquerader.

GT (THOUGHT):

He needs me.

PANEL 2.

CLOSE-UP of GT punching a Masquerader.

GT (THOUGHT):

He said that I’m apart of the gang…

PANEL 3.

CLOSE-UP of GT’s face as he’s punching the Masquerader.

GT (THOUGHT):

…one of the team.

PANEL 4.

CLOSE-UP of A cracked mask fall to the ground with specks of

blood on it.

GT (THOUGHT):

He said that we’re a family…

152



16


PANEL 1.

FRONT-VIEW of GT holding the gang members collar in hand. The

three other gang members surrounding him.

GT (THOUGHT):

He said…

PANEL 2.

CLOSE-UP of Masqueraders behind him, holding his bat up beside

his head, ready to swing.

MASQUERADER:

Lights out, kid.

PANEL 3.

FRONT-VIEW of GT holding still pinning a Masquerader. One gang

member behind him swings his bat, about to strike GT across the

head.



17


PANEL 1.

FRONT-VIEW of GT being thrown to the ground. Rolling from his

side onto his front.

GT (THOUGHT):

I did it.

PANEL 2.

OVER HEAD-VIEW of three Masqueraders surrounding GT, striking

him with their bats. The Masq. Leader is kneeling down where the

cracked mask is on the ground. The beaten member is on his

knees, about to stand up.

GT (THOUGHT):

I protected him, again.

PANEL 3.

CLOSE-UP of GT’s face on the ground, darkened and smeared in

blood and dirt.

GT (THOUGHT):

I’ll take on all of MX’s pain.

PANEL 4.

SIDE-VIEW of the Masq. Leader crouched, looking at the cracked

mask in his hand.

GT (THOUGHT):

I’ll be the one to get hurt, so MX doesn’t have to…

153153

LOST BOYS

THE JOURNEY



16


PANEL 1.

FRONT-VIEW of GT holding the gang members collar in hand. The

three other gang members surrounding him.

GT (THOUGHT):

He said…

PANEL 2.

CLOSE-UP of Masqueraders behind him, holding his bat up beside

his head, ready to swing.

MASQUERADER:

Lights out, kid.

PANEL 3.

FRONT-VIEW of GT holding still pinning a Masquerader. One gang

member behind him swings his bat, about to strike GT across the

head.



17


PANEL 1.

FRONT-VIEW of GT being thrown to the ground. Rolling from his

side onto his front.

GT (THOUGHT):

I did it.

PANEL 2.

OVER HEAD-VIEW of three Masqueraders surrounding GT, striking

him with their bats. The Masq. Leader is kneeling down where the

cracked mask is on the ground. The beaten member is on his

knees, about to stand up.

GT (THOUGHT):

I protected him, again.

PANEL 3.

CLOSE-UP of GT’s face on the ground, darkened and smeared in

blood and dirt.

GT (THOUGHT):

I’ll take on all of MX’s pain.

PANEL 4.

SIDE-VIEW of the Masq. Leader crouched, looking at the cracked

mask in his hand.

GT (THOUGHT):

I’ll be the one to get hurt, so MX doesn’t have to…

154



18


PANEL 1.

Masq. Leader’s POV dropping the mask.

PANEL 2.

SIDE-VIEW of the Masq. Leader standing up, leaning over a tiny

bit, but his legs are straight. His hands in his pocket.

PANEL 3.

Masq. Leader’s POV looking to the side as the Gang members

strike GT with the bats.

LEADER:

Enough.

PANEL 4.

BACK-VIEW of the Masqueraders surrounding GT. The Masq. Leader

is seen in the background walking away with his back showing.

LEADER:

We’re leaving.



19


PANEL 1.

CAVE INTERIOR.

MX suddenly looking up. His mouth is open and his eyes are

swelling with tears.

MASQUERADERS (OP):

…Bring the kid with us.

PANEL 2.

BACK-VIEW of MX attempting to climb up the ladder of the cave

with his left arm, while his right arm hangs limp at his side.

KC and JR stand behind him watching. The Rival Gang Member sits

on the ground behind JR.

PANEL 3.

SIDE-VIEW of MX falling backwards.

PANEL 4.

BACK-VIEW of KC and JR run upto MX.

155155

LOST BOYS

THE JOURNEY



18


PANEL 1.

Masq. Leader’s POV dropping the mask.

PANEL 2.

SIDE-VIEW of the Masq. Leader standing up, leaning over a tiny

bit, but his legs are straight. His hands in his pocket.

PANEL 3.

Masq. Leader’s POV looking to the side as the Gang members

strike GT with the bats.

LEADER:

Enough.

PANEL 4.

BACK-VIEW of the Masqueraders surrounding GT. The Masq. Leader

is seen in the background walking away with his back showing.

LEADER:

We’re leaving.



19


PANEL 1.

CAVE INTERIOR.

MX suddenly looking up. His mouth is open and his eyes are

swelling with tears.

MASQUERADERS (OP):

…Bring the kid with us.

PANEL 2.

BACK-VIEW of MX attempting to climb up the ladder of the cave

with his left arm, while his right arm hangs limp at his side.

KC and JR stand behind him watching. The Rival Gang Member sits

on the ground behind JR.

PANEL 3.

SIDE-VIEW of MX falling backwards.

PANEL 4.

BACK-VIEW of KC and JR run upto MX.

156



20

PAGE NINETEEN (four panels)

PANEL 1.

SIDE-VIEW of JR’s hand on MX’s shoulder.

PANEL 2.

BACK-VIEW of MX shrug JR off.

PANEL 3.

CLOSE-UP BACK-VIEW of MX reaching for the ladder again.

PANEL 4.

SIDE-VIEW CLOSE-UP of MX’s face.

RIVAL GANG MEMBER (OP):

It’s useless idiot…



21


PANEL 1.

BACK-VIEW of KC AND JR turn behind. MX doesn’t turn around.


Your arm’s busted. And if we go back up there—

PANEL 2.

FRONT-VIEW of the Rival Gang Member sitting on the ground he

looks up at the others with a sneer.


—they’ll kill us too.

PANEL 3.

SIDE-VIEW of MX walking past JR and KC. His head is down, eyes

closed.

JR (WHISPERS):

Max…

PANEL 4.

FRONT-VIEW of MX shoving the boy to the wall with his left hand.

JR (OP):

Max!

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LOST BOYS

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20

PAGE NINETEEN (four panels)

PANEL 1.

SIDE-VIEW of JR’s hand on MX’s shoulder.

PANEL 2.

BACK-VIEW of MX shrug JR off.

PANEL 3.

CLOSE-UP BACK-VIEW of MX reaching for the ladder again.

PANEL 4.



It’s useless idiot…



21


PANEL 1.

BACK-VIEW of KC AND JR turn behind. MX doesn’t turn around.


Your arm’s busted. And if we go back up there—

PANEL 2.

FRONT-VIEW of the Rival Gang Member sitting on the ground he

looks up at the others with a sneer.


—they’ll kill us too.

PANEL 3.

SIDE-VIEW of MX walking past JR and KC. His head is down, eyes

closed.

JR (WHISPERS):

Max…

PANEL 4.

FRONT-VIEW of MX shoving the boy to the wall with his left hand.

JR (OP):

Max!

158



22


PANEL 1.

OVER HEAD-VIEW of MX pinning the boy to the wall with his left

forearm. JR and KC run up behind MX.

JR (OP):

Stop!

KC (OP):

Max!

PANEL 2.

Rival Gang Members POV looking up at MX. MX looks hysterically

angry.

JR (OP):

Stop it Max! Just wait a minute!

PANEL 3.

FRONT-VIEW of JR trying to talk MX down.

JR:

Beating up this kid won’t help. We’ll think of something.

PANEL 4.

CLOSE-UP of MX whip his head around. His eyes puffed up and

bulging with tears.



23

PAGE TWENTY TWO (four panels)

PANEL 1.

BACK-VIEW of MX with his head down. JR is on his left, while KC

is on his right.

KC:

We’ll get GT back. If they were gonna kill him, they would have

done it up there.

PANEL 2.

KC’s POV looking at MX.

KC (OP):

We’ll save him.

PANEL 3.

SIDE-VIEW of MX shoves the boy down as he stands back.

PANEL 4.

FRONT-VIEW of the boy fall to the ground.

TEDD (OP):

Max!

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22


PANEL 1.

OVER HEAD-VIEW of MX pinning the boy to the wall with his left

forearm. JR and KC run up behind MX.

JR (OP):

Stop!

KC (OP):

Max!

PANEL 2.

Rival Gang Members POV looking up at MX. MX looks hysterically

angry.

JR (OP):

Stop it Max! Just wait a minute!

PANEL 3.

FRONT-VIEW of JR trying to talk MX down.

JR:

Beating up this kid won’t help. We’ll think of something.

PANEL 4.

CLOSE-UP of MX whip his head around. His eyes puffed up and

bulging with tears.



23


PANEL 1.

BACK-VIEW of MX with his head down. JR is on his left, while KC

is on his right.

KC:

We’ll get GT back. If they were gonna kill him, they would have

done it up there.

PANEL 2.

KC’s POV looking at MX.

KC (OP):

We’ll save him.

PANEL 3.

SIDE-VIEW of MX shoves the boy down as he stands back.

PANEL 4.

FRONT-VIEW of the boy fall to the ground.

TEDD (OP):

Max!

160



24

PAGE TWENTY THREE (four panels)

PANEL 1.

Tedd’s POV looking down at MX from above.

TEDD (OP):

Max! What happened. Are you alright?

PANEL 2.

CLOSE-UP SIDE-VIEW of MX’s face, his eyes widen in shock.

MX (WHISPERS):

…Tedd?

PANEL 3.

FRONT-VIEW of MX looking up.

PANEL 4.

SIDE-VIEW of Tedd standing over the cave hole entrance where the

playhouse used to be. Tedd wears a undone, simple, black, knee

length jacket.



25


PANEL 1.

CLOSE-UP SIDE-VIEW of Tedd looking down the hole.

MX (OP):

Tedd! Get us out of here! They took him!

PANEL 2.

SIDE-VIEW of MX, KC, and JR looking up.

MX (WHISPERS):

They took him…

PANEL 3.

Dark van INTERIOR.

CLOSE-UP of an unconscious GT lying on his side, dirty and

bloody.

MX (OP):

GT…

THE END

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24

PAGE TWENTY THREE (four panels)

PANEL 1.

Tedd’s POV looking down at MX from above.

TEDD (OP):

Max! What happened. Are you alright?

PANEL 2.

CLOSE-UP SIDE-VIEW of MX’s face, his eyes widen in shock.

MX (WHISPERS):

…Tedd?

PANEL 3.

FRONT-VIEW of MX looking up.

PANEL 4.

SIDE-VIEW of Tedd standing over the cave hole entrance where the

playhouse used to be. Tedd wears a undone, simple, black, knee

length jacket.



25


PANEL 1.

CLOSE-UP SIDE-VIEW of Tedd looking down the hole.

MX (OP):

Tedd! Get us out of here! They took him!

PANEL 2.

SIDE-VIEW of MX, KC, and JR looking up.

MX (WHISPERS):

They took him…

PANEL 3.

Dark van INTERIOR.

CLOSE-UP of an unconscious GT lying on his side, dirty and

bloody.

MX (OP):

GT…

THE END

162



“LOST BOYS”

SCRIPT (ISSUE #4)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

163163

LOST BOYS

THE JOURNEY



“LOST BOYS”

SCRIPT (ISSUE #4)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

164



2


CREDITS PAGE

PANEL 1.

NIGHT.

OVER HEAD-VIEW of a Dark van drives along a road in Harbour

City, approaching Silverstone’s tower.

PANEL 2.

Van INTERIOR.

FRONT-VIEW of Four Masqueraders sit in the van on benches, two

on either side. GT is on sprawled out on the ground of the van,

dirty and bloody. A screen-wall with a small barred window is

between the back of the van and the driver’s seat.

PANEL 3.

CLOSE-UP on GT’s face as lies on the ground with his eyes half

open.

MASQ. LEADER (OP):

It won’t be long now—

PANEL 4.

CLOSE-UP of the Leader turning over his shoulder to through the

window on the screen-wall. The Leader is the passenger seat,

next to the driver.

MASQ. LEADER:

—Try not to die on us, kid.



3


PANEL 1.

OVER HEAD-VIEW of the Abandoned Park EXTERIOR. Police officers

and paramedics are scattered around the place. Tedd is talking

to a police officer. MX, KC, and JR are each being seen by a

paramedic. There is police tape around the playhouse debris and

cave. Tedd wears a undone, simple, black, knee length jacket.

PANEL 2.

BACK-VIEW of Tedd talking with an officer.

PANEL 3.

BACK-VIEW of Tedd turn over his left shoulder. The officer

stands before him still talking.

PANEL 4.

Tedd’s POV watching MX stand and push past the paramedic trying

to help him. MX’s right sleeve is rolled up past his elbow. His

right arm is bandaged up. His bat is on the ground by his feet.

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2


CREDITS PAGE

PANEL 1.

NIGHT.

OVER HEAD-VIEW of a Dark van drives along a road in Harbour

City, approaching Silverstone’s tower.

PANEL 2.

Van INTERIOR.

FRONT-VIEW of Four Masqueraders sit in the van on benches, two

on either side. GT is on sprawled out on the ground of the van,

dirty and bloody. A screen-wall with a small barred window is

between the back of the van and the driver’s seat.

PANEL 3.

CLOSE-UP on GT’s face as lies on the ground with his eyes half

open.

MASQ. LEADER (OP):

It won’t be long now—

PANEL 4.

CLOSE-UP of the Leader turning over his shoulder to through the

window on the screen-wall. The Leader is the passenger seat,

next to the driver.

MASQ. LEADER:

—Try not to die on us, kid.



3


PANEL 1.

OVER HEAD-VIEW of the Abandoned Park EXTERIOR. Police officers

and paramedics are scattered around the place. Tedd is talking

to a police officer. MX, KC, and JR are each being seen by a

paramedic. There is police tape around the playhouse debris and

cave. Tedd wears a undone, simple, black, knee length jacket.

PANEL 2.

BACK-VIEW of Tedd talking with an officer.

PANEL 3.

BACK-VIEW of Tedd turn over his left shoulder. The officer

stands before him still talking.

PANEL 4.

Tedd’s POV watching MX stand and push past the paramedic trying

to help him. MX’s right sleeve is rolled up past his elbow. His

right arm is bandaged up. His bat is on the ground by his feet.

166



4

PAGE THREE (four panels)

PANEL 1.

SIDE-VIEW of Tedd turning to run away from the officer.

TEDD:

He-hey! Max, wait!

PANEL 2.

CLOSE-UP of KC standing opposite a paramedic, looking to the

side, noticing MX. She has a blanket wrapped around her

shoulders.

TEDD (OP):

Max!

PANEL 3.

KC’s POV of MX walking towards the exit of the park area,

holding his bat in his left hand. Tedd is seen running up behind

him.

TEDD:

You can’t go after GT by yourself.

PANEL 4.

FRONT-VIEW of KC walking away from her paramedic, dropping her

blanket.

KC (THOUGHT):

This was a test of loyalty.



5

PAGE FOUR (four panels)

PANEL 1.

OVER HEAD-VIEW of MX stopped just before the alley connecting to

the park. Tedd stands behind him. KC is seen running upto MX

from behind Tedd. JR is seen slowly walking up beside Tedd.

KC (THOUGHT):

If I didn’t go, what would that say about me? GT was my friend

too.

PANEL 2.

CLOSE-UP BACK-VIEW of MX.

TEDD (OP):

You’re going to get yourself killed.

PANEL 3.

SIDE-VIEW of Tedd. KC runs past him.

TEDD:

Is that what you want?

PANEL 4.

SIDE-VIEW CLOSE-UP of JR stop beside Tedd.

TEDD (OP):

You and the rest of your friends.

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4


PANEL 1.

SIDE-VIEW of Tedd turning to run away from the officer.

TEDD:

He-hey! Max, wait!

PANEL 2.

CLOSE-UP of KC standing opposite a paramedic, looking to the

side, noticing MX. She has a blanket wrapped around her

shoulders.

TEDD (OP):

Max!

PANEL 3.

KC’s POV of MX walking towards the exit of the park area,

holding his bat in his left hand. Tedd is seen running up behind

him.

TEDD:

You can’t go after GT by yourself.

PANEL 4.

FRONT-VIEW of KC walking away from her paramedic, dropping her

blanket.

KC (THOUGHT):

This was a test of loyalty.



5


PANEL 1.

OVER HEAD-VIEW of MX stopped just before the alley connecting to

the park. Tedd stands behind him. KC is seen running upto MX

from behind Tedd. JR is seen slowly walking up beside Tedd.

KC (THOUGHT):

If I didn’t go, what would that say about me? GT was my friend

too.

PANEL 2.


TEDD (OP):

You’re going to get yourself killed.

PANEL 3.

SIDE-VIEW of Tedd. KC runs past him.

TEDD:

Is that what you want?

PANEL 4.

SIDE-VIEW CLOSE-UP of JR stop beside Tedd.

TEDD (OP):

You and the rest of your friends.

168



6

PAGE FIVE (three panels)

PANEL 1.


MX:

Who else is gonna save him, if we don’t?

PANEL 2.

BACK-VIEW of MX as KC runs to his side.

MX (OP):

The cops maybe scared shitless of Silverstone. But I’m not.

PANEL 3.

FRONT-VIEW of Tedd and JR.

MX (OP):

If you don’t want to see me get hurt, then stop bitchin’ and

help us! And you too JR?



7

PAGE SIX (three panels)

PANEL 1.

FRONT-VIEW of MX and KC.

MX:

Are you with us?

PANEL 2.

CLOSE-UP of JR looking down and to the side, silently avoiding

eye contact.

PANEL 3.


MX:

I guess not.

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6

PAGE FIVE (three panels)

PANEL 1.


MX:

Who else is gonna save him, if we don’t?

PANEL 2.

BACK-VIEW of MX as KC runs to his side.

MX (OP):

The cops maybe scared shitless of Silverstone. But I’m not.

PANEL 3.

FRONT-VIEW of Tedd and JR.

MX (OP):

If you don’t want to see me get hurt, then stop bitchin’ and

help us! And you too JR?



7

PAGE SIX (three panels)

PANEL 1.

FRONT-VIEW of MX and KC.

MX:

Are you with us?

PANEL 2.

CLOSE-UP of JR looking down and to the side, silently avoiding

eye contact.

PANEL 3.


MX:

I guess not.

170



8


PANEL 1.

WIDE-VIEW of MX start running down the alleyway.

KC (THOUGHT):

He didn’t even have to think about. It’s instinct for him.

PANEL 2.

FRONT-VIEW of KC standing sideways with her head down. Spot MX

running in the distance.

KC (THOUGHT):

One of us is in trouble, so a he will literally race halfway

across the city to save him.

PANEL 3.

SIDE-VIEW CLOSE-UP of Tedd shouting.

TEDD:

KC…come on! We’ll sort this out.

KC (THOUGHT):

Tedd was right. It was stupid. What could we do?

PANEL 4.


TEDD (OP):

You need to talk to him. Make him see sense.

KC (THOUGHT):

But that wasn’t the point. We had to go after him. Even if we

didn’t have a plan, we had to go after him.



9


PANEL 1.

BACK-VIEW of Tedd still shouting. JR turns around beside and is

beginning to walk away from them.

TEDD:

Godammit MX!

KC (THOUGHT):

That’s what teammates do for eachother. That’s what family does.

Nobody gets left behind.

PANEL 2.

BACK-VIEW of Tedd turn around to look after JR.

KC (THOUGHT):

No matter what he said, Tedd knew that.

PANEL 3.

Tedd’s POV of JR walking away.

KC (THOUGHT):

And so did JR. He’ll come back to us eventually.

PANEL 4.

CLOSE-UP of KC start to run.

KC (THOUGHT):

He’ll be there to save us all.

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LOST BOYS

THE JOURNEY



8


PANEL 1.

WIDE-VIEW of MX start running down the alleyway.

KC (THOUGHT):

He didn’t even have to think about. It’s instinct for him.

PANEL 2.

FRONT-VIEW of KC standing sideways with her head down. Spot MX

running in the distance.

KC (THOUGHT):

One of us is in trouble, so a he will literally race halfway

across the city to save him.

PANEL 3.

SIDE-VIEW CLOSE-UP of Tedd shouting.

TEDD:

KC…come on! We’ll sort this out.

KC (THOUGHT):

Tedd was right. It was stupid. What could we do?

PANEL 4.


TEDD (OP):

You need to talk to him. Make him see sense.

KC (THOUGHT):

But that wasn’t the point. We had to go after him. Even if we

didn’t have a plan, we had to go after him.



9


PANEL 1.

BACK-VIEW of Tedd still shouting. JR turns around beside and is

beginning to walk away from them.

TEDD:

Godammit MX!

KC (THOUGHT):

That’s what teammates do for eachother. That’s what family does.

Nobody gets left behind.

PANEL 2.

BACK-VIEW of Tedd turn around to look after JR.

KC (THOUGHT):

No matter what he said, Tedd knew that.

PANEL 3.

Tedd’s POV of JR walking away.

KC (THOUGHT):

And so did JR. He’ll come back to us eventually.

PANEL 4.

CLOSE-UP of KC start to run.

KC (THOUGHT):

He’ll be there to save us all.

172



10


PANEL 1.

OVER HEAD-VIEW of Tedd standing. JR walking away to his right,

KC running away to his left.

KC (THOUGHT):

They both will.

PANEL 2.

BACK-VIEW of KC running down the alleyway.

KC (THOUGHT):

MX knew it too.

PANEL 3.

KC’s POV of MX reach the end of the alley and stop with his back

to her.

KC (THOUGHT):

He just couldn’t wait for them to realize.

PANEL 4.

SIDE-VIEW of MX standing.

KC (THOUGHT):

All MX could think about was getting GT back no matter what.



11


PANEL 1.

FRONT-VIEW of MX standing. KC just about catches upto him. Spot

the park on the distance down the alley.

KC (THOUGHT):

He’ll fight whoever he has too. He’ll run as far as he has to.

Nothing will stop him.

PANEL 2.

CLOSE-UP of KC looking slightly flushed.

KC (THOUGHT):

It’s just down to us to catch up to him.

PANEL 3.

KC’s POV of MX looking standing sideways.

KC (THOUGHT):

He’s ahead of us all, yet he’s still waiting for us.

PANEL 4.

SIDE-VIEW CLOSE-UP of MX eyes, with tears streaming down as he

looks unwaveringly angry.

MX (WHISPERS):

We’re going.

KC (THOUGHT):

His teammates are his family.

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LOST BOYS

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10


PANEL 1.

OVER HEAD-VIEW of Tedd standing. JR walking away to his right,

KC running away to his left.

KC (THOUGHT):

They both will.

PANEL 2.

BACK-VIEW of KC running down the alleyway.

KC (THOUGHT):

MX knew it too.

PANEL 3.

KC’s POV of MX reach the end of the alley and stop with his back

to her.

KC (THOUGHT):

He just couldn’t wait for them to realize.

PANEL 4.

SIDE-VIEW of MX standing.

KC (THOUGHT):

All MX could think about was getting GT back no matter what.



11


PANEL 1.

FRONT-VIEW of MX standing. KC just about catches upto him. Spot

the park on the distance down the alley.

KC (THOUGHT):

He’ll fight whoever he has too. He’ll run as far as he has to.

Nothing will stop him.

PANEL 2.

CLOSE-UP of KC looking slightly flushed.

KC (THOUGHT):

It’s just down to us to catch up to him.

PANEL 3.

KC’s POV of MX looking standing sideways.

KC (THOUGHT):

He’s ahead of us all, yet he’s still waiting for us.

PANEL 4.

SIDE-VIEW CLOSE-UP of MX eyes, with tears streaming down as he

looks unwaveringly angry.

MX (WHISPERS):

We’re going.

KC (THOUGHT):

His teammates are his family.

174



12

PAGE ELEVEN (three panels)

PANEL 1.

CLOSE-UP of MX face as he turns to her. He has a frighteningly

and furiously smile on his face.

MX:

We’re gonna fucking get him back tonight!

KC (THOUGHT):

And he doesn’t leave family behind.

PANEL 2.

FRONT-VIEW of KC.

KC (THOUGHT):

Neither would GT.

PANEL 3.

FLASHBACK.

CLOSE-UP of MX’s furious eyes.

KC (THOUGHT):

And neither will I.



13


PANEL 1.

FLASHBACK.

CAVE INTERIOR.

WIDE-VIEW of the Lost Boys in the cave together all looking up.

KC:


MX:

Trouble.

PANEL 2.

FLASHBACK.

OVER HEAD-VIEW of KC looking up.

PANEL 3.

FLASHBACK.

KC’s POV of JR falling down above.

PANEL 4.

FLASHBACK.

FRONT-VIEW of KC.

A blur of GT dives across her.

KC (THOUGHT):

There he goes…

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LOST BOYS

THE JOURNEY



12

PAGE ELEVEN (three panels)

PANEL 1.

CLOSE-UP of MX face as he turns to her. He has a frighteningly

and furiously smile on his face.

MX:

We’re gonna fucking get him back tonight!

KC (THOUGHT):

And he doesn’t leave family behind.

PANEL 2.

FRONT-VIEW of KC.

KC (THOUGHT):

Neither would GT.

PANEL 3.

FLASHBACK.


KC (THOUGHT):

And neither will I.



13


PANEL 1.

FLASHBACK.

CAVE INTERIOR.

WIDE-VIEW of the Lost Boys in the cave together all looking up.

KC:


MX:

Trouble.

PANEL 2.

FLASHBACK.

OVER HEAD-VIEW of KC looking up.

PANEL 3.

FLASHBACK.

KC’s POV of JR falling down above.

PANEL 4.

FLASHBACK.

FRONT-VIEW of KC.

A blur of GT dives across her.

KC (THOUGHT):

There he goes…

176



14


PANEL 1.

FLASHBACK.

BACK-VIEW of GT diving to catch JR.

JR lands on top of GT, who catches him in an embrace.

KC (THOUGHT):

Typical GT, always there to catch us.

PANEL 2.

FLASHBACK.

KC’s SIDE-VIEW of GT and JR standing up. KC and MX stand around

them looking down.

PANEL 3.

FLASHBACK.

FRONT-VIEW of KC looking up.

KC (THOUGHT):

Can’t have him leave me behind.

PANEL 4.

FLASHBACK.

KC’s POV of playhouse debris being dropped.

PANEL 5.

FLASHBACK.

CLOSE-UP of KC shouting.

KC:

LOOK OUT!



15

PAGE FOURTEEN (three panels)

PANEL 1.

FLASHBACK.

FRONT-VIEW of KC running forwards.

KC (THOUGHT):

Shit! What am I doing?

PANEL 2.

FLASHBACK.

KC’s POV of MX get struck by a piece of playhouse debris. He

tries to block with his right forearm.

KC (THOUGHT):

I’m here. I need to act like it.

PANEL 3.

FLASHBACK.

OVER HEAD-VIEW of MX on the ground in pain, gripping his right

arm, next to the debris that hit him. KC is seen running upto

MX. JR is seen kneeling beside MX. GT stands behind JR, just

watching.

MASQ. LEADER (OP):


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LOST BOYS

THE JOURNEY



14


PANEL 1.

FLASHBACK.

BACK-VIEW of GT diving to catch JR.

JR lands on top of GT, who catches him in an embrace.

KC (THOUGHT):

Typical GT, always there to catch us.

PANEL 2.

FLASHBACK.

KC’s SIDE-VIEW of GT and JR standing up. KC and MX stand around

them looking down.

PANEL 3.

FLASHBACK.

FRONT-VIEW of KC looking up.

KC (THOUGHT):

Can’t have him leave me behind.

PANEL 4.

FLASHBACK.

KC’s POV of playhouse debris being dropped.

PANEL 5.

FLASHBACK.

CLOSE-UP of KC shouting.

KC:

LOOK OUT!



15

PAGE FOURTEEN (three panels)

PANEL 1.

FLASHBACK.

FRONT-VIEW of KC running forwards.

KC (THOUGHT):

Shit! What am I doing?

PANEL 2.

FLASHBACK.

KC’s POV of MX get struck by a piece of playhouse debris. He

tries to block with his right forearm.

KC (THOUGHT):

I’m here. I need to act like it.

PANEL 3.

FLASHBACK.

OVER HEAD-VIEW of MX on the ground in pain, gripping his right

arm, next to the debris that hit him. KC is seen running upto

MX. JR is seen kneeling beside MX. GT stands behind JR, just

watching.

MASQ. LEADER (OP):


178



16

PAGE FIFTEEN (six panels)

PANEL 1.

FLASHBACK.

WIDE-VIEW of JR and KC kneeling around MX, who they have sitting

up. GT stands behind them, just watching. They are all looking

down.

MASQ. LEADER (OP):

You’re done.

PANEL 3.

FLASHBACK.

CLOSE-UP of KC.

MASQ. LEADER (OP):

Game over.

PANEL 3.

FLASHBACK.

FRONT-VIEW of KC’s family standing outside of their Thai

Restaurant. They are all in white aprons and t-shirts. Some in

chef hats or kitchen caps. KC stands in the middle. There are

ten family members of varying ages and gender.

MASQ. LEADER (OP):

Go home.

PANEL 4.

FLASHBACK.

FRONT-VIEW of the Lost Boys all standing together, smiling.

MASQ. LEADER (OP):

No more gang.

PANEL 5.

FLASHBACK.

FRONT-VIEW of the KC.

MASQ. LEADER (OP):


PANEL 6.

FLASHBACK.

CLOSE-UP of KC looking down with downcast eyes.

MASQ. LEADER (OP):

No more.



17

PAGE SIXTEEN (five panels)

PANEL 1.

FLASHBACK.

BACK-VIEW of KC. See GT turning around to head to the ladder

MASQ. LEADER (OP):

You’re done.

PANEL 2.

FLASHBACK.

CLOSE-UP of KC looking up, curiously looking at GT.

KC (THOUGHT):

There he goes again.

PANEL 3.

FLASHBACK.

KC’s POV of GT about to start climbing the ladder.

KC (THOUGHT):

First priority is to protect us—

PANEL 4.

FLASHBACK.

FRONT-VIEW of KC standing up. To her left JR kneels beside MX,

looking to him as if trying to help. MX looks away from JR.

KC (THOUGHT):

—to keep us together.

PANEL 5.

FLASHBACK.

Right SIDE-VIEW of KC. Her right arm is across her chest, with

her palm wrapped around her upper arm. She looks frustrated.

KC (THOUGHT):

Meanwhile…What am I doing?

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LOST BOYS

THE JOURNEY



16

PAGE FIFTEEN (six panels)

PANEL 1.

FLASHBACK.

WIDE-VIEW of JR and KC kneeling around MX, who they have sitting

up. GT stands behind them, just watching. They are all looking

down.

MASQ. LEADER (OP):

You’re done.

PANEL 3.

FLASHBACK.

CLOSE-UP of KC.

MASQ. LEADER (OP):

Game over.

PANEL 3.

FLASHBACK.

FRONT-VIEW of KC’s family standing outside of their Thai

Restaurant. They are all in white aprons and t-shirts. Some in

chef hats or kitchen caps. KC stands in the middle. There are

ten family members of varying ages and gender.

MASQ. LEADER (OP):

Go home.

PANEL 4.

FLASHBACK.

FRONT-VIEW of the Lost Boys all standing together, smiling.

MASQ. LEADER (OP):

No more gang.

PANEL 5.

FLASHBACK.

FRONT-VIEW of the KC.

MASQ. LEADER (OP):


PANEL 6.

FLASHBACK.

CLOSE-UP of KC looking down with downcast eyes.

MASQ. LEADER (OP):

No more.



17


PANEL 1.

FLASHBACK.

BACK-VIEW of KC. See GT turning around to head to the ladder

MASQ. LEADER (OP):

You’re done.

PANEL 2.

FLASHBACK.

CLOSE-UP of KC looking up, curiously looking at GT.

KC (THOUGHT):

There he goes again.

PANEL 3.

FLASHBACK.

KC’s POV of GT about to start climbing the ladder.

KC (THOUGHT):

First priority is to protect us—

PANEL 4.

FLASHBACK.

FRONT-VIEW of KC standing up. To her left JR kneels beside MX,

looking to him as if trying to help. MX looks away from JR.

KC (THOUGHT):

—to keep us together.

PANEL 5.

FLASHBACK.

Right SIDE-VIEW of KC. Her right arm is across her chest, with

her palm wrapped around her upper arm. She looks frustrated.

KC (THOUGHT):

Meanwhile…What am I doing?

180



18

PAGE SEVENTEEN (five panels)

PANEL 1.

FLASHBACK.

OVER HEAD-VIEW of the cave. KC stands in front of MX and JR. MX

is trying to get to his feet. JR stands beside him helping him

up. GT is climbing up the ladder about halfway.

KC (THOUGHT):

I couldn’t stop JR…

PANEL 2.

FLASHBACK.

KC’s CLOSE-UP POV of GT climbing up the ladder.

KC (THOUGHT):

…couldn’t save MX.

PANEL 3.

FLASHBACK.

CLOSE-UP OVER HEAD-VIEW looking down at KC.

KC (THOUGHT):

I need to do something!

PANEL 4.

FLASHBACK.

BACK-VIEW of KC walk towards the ladder. GT is just above

halfway.

KC (THOUGHT):

When I’m here, with them, I have a role to play.

PANEL 5.

FLASHBACK.

FRONT-VIEW of JR beside MX, suspiciously looking ahead of him at

KC and JR.

KC (THOUGHT):

I’m not just a face in a crowd.



19


PANEL 1.

FLASHBACK.

OVER HEAD-VIEW of KC at the bottom of the ladder.

PANEL 2.

FLASHBACK.

KC’s POV looking up at the rival Rival Gang Member fall down

past GT towards her.

KC (THOUGHT):

—No…

PANEL 3.

FLASHBACK.

CLOSE-UP BACK-VIEW of MX watch the boy fall on KC as they both

tumble to the ground. JR is seen running upto them.

PANEL 4.

FLASHBACK.


KC (THOUGHT):

I can’t stop here!

181181

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18

PAGE SEVENTEEN (five panels)

PANEL 1.

FLASHBACK.

OVER HEAD-VIEW of the cave. KC stands in front of MX and JR. MX

is trying to get to his feet. JR stands beside him helping him

up. GT is climbing up the ladder about halfway.

KC (THOUGHT):

I couldn’t stop JR…

PANEL 2.

FLASHBACK.

KC’s CLOSE-UP POV of GT climbing up the ladder.

KC (THOUGHT):

…couldn’t save MX.

PANEL 3.

FLASHBACK.

CLOSE-UP OVER HEAD-VIEW looking down at KC.

KC (THOUGHT):

I need to do something!

PANEL 4.

FLASHBACK.

BACK-VIEW of KC walk towards the ladder. GT is just above

halfway.

KC (THOUGHT):

When I’m here, with them, I have a role to play.

PANEL 5.

FLASHBACK.

FRONT-VIEW of JR beside MX, suspiciously looking ahead of him at

KC and JR.

KC (THOUGHT):

I’m not just a face in a crowd.



19


PANEL 1.

FLASHBACK.

OVER HEAD-VIEW of KC at the bottom of the ladder.

PANEL 2.

FLASHBACK.

KC’s POV looking up at the rival Rival Gang Member fall down

past GT towards her.

KC (THOUGHT):

—No…

PANEL 3.

FLASHBACK.

CLOSE-UP BACK-VIEW of MX watch the boy fall on KC as they both

tumble to the ground. JR is seen running upto them.

PANEL 4.

FLASHBACK.


KC (THOUGHT):

I can’t stop here!

182



20


PANEL 1.

NIGHT.

SIDE-VIEW of MX and KC running down a street. Max holds his bat

in his left hand.

PANEL 2.

BACK-VIEW of MX and KC running down a street.

PANEL 3.

CLOSE-UP of MX look up.

PANEL 4.

MX’s POV of Silverstone’s skyscraper in the distance.

PANEL 5.

OVER HEAD-VIEW of MX and KC running down a street towards the

nice town.



21


PANEL 1.

OVER HEAD-VIEW of a black van drive into an empty parking lot

building.

PANEL 2.

BACK-VIEW of the van’s rear double doors open,

PANEL 3.

Left SIDE-VIEW of the Masqueraders disembark, while one drags GT

out.

PANEL 4.

FRONT-VIEW of the van. The Masq. Leader and the driver each have

their doors open and are exiting the vehicle.

PANEL 5.

BACK-VIEW of the Masq. Leader walk forwards. The other

Masqueraders are before him holding GT.

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20


PANEL 1.

NIGHT.

SIDE-VIEW of MX and KC running down a street. Max holds his bat

in his left hand.

PANEL 2.

BACK-VIEW of MX and KC running down a street.

PANEL 3.

CLOSE-UP of MX look up.

PANEL 4.

MX’s POV of Silverstone’s skyscraper in the distance.

PANEL 5.

OVER HEAD-VIEW of MX and KC running down a street towards the

nice town.



21


PANEL 1.

OVER HEAD-VIEW of a black van drive into an empty parking lot

building.

PANEL 2.

BACK-VIEW of the van’s rear double doors open,

PANEL 3.

Left SIDE-VIEW of the Masqueraders disembark, while one drags GT

out.

PANEL 4.

FRONT-VIEW of the van. The Masq. Leader and the driver each have

their doors open and are exiting the vehicle.

PANEL 5.

BACK-VIEW of the Masq. Leader walk forwards. The other

Masqueraders are before him holding GT.

184



22


PANEL 1.

Masq. Leader’s POV looking down at GT.

MASQ. LEADER (OP):

You awake, Kid?

PANEL 2.

CLOSE-UP of GT groggily looking up.

PANEL 3.

GT’s groggy POV looking up at the Masq. Leader. He has his hands

in his pocket.

MASQ. LEADER:

I’ll take that as a yes.

PANEL 4.

CLOSE-UP of the Masq. Leader’s face mask.

MASQ. LEADER:

Now put on your best smile…



23


PANEL 1.

NIGHT.

OVER HEAD-VIEW of the abandoned playground littered with police

and paramedics who are gathering around the area. Tedd is

arguing with a police officer.

MASQ. LEADER (OP):

Mr. Silverstone is just dying to meet you.

TEDD:

So you’re just gonna leave them!

PANEL 2.

SIDE-VIEW of Tedd standing opposite a police officer on the

right having a heat conversation.

TEDD:

They’re just kids! One has been kidnapped, and the others have

run off after those….those thugs!

OFFICER:

I’m sorry son, it’s out of our hands.

PANEL 3.

FRONT-VIEW of Tedd.

TEDD:

Your sorry…

PANEL 4.

BACK-VIEW of JR watching Tedd argue with the police officer.

TEDD:

Isn’t it your job? What’s the matter with you? He only has power

over us if we let him. If the police won’t protect us from

Silverstone, then who will? Huh!

PANEL 5.

CLOSE-UP of JR looking up in shock at hearing the name.

OFFICER (OP):

I’m sorry. We can’t.

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LOST BOYS

THE JOURNEY



22


PANEL 1.

Masq. Leader’s POV looking down at GT.

MASQ. LEADER (OP):

You awake, Kid?

PANEL 2.

CLOSE-UP of GT groggily looking up.

PANEL 3.

GT’s groggy POV looking up at the Masq. Leader. He has his hands

in his pocket.

MASQ. LEADER:

I’ll take that as a yes.

PANEL 4.

CLOSE-UP of the Masq. Leader’s face mask.

MASQ. LEADER:

Now put on your best smile…



23


PANEL 1.

NIGHT.

OVER HEAD-VIEW of the abandoned playground littered with police

and paramedics who are gathering around the area. Tedd is

arguing with a police officer.

MASQ. LEADER (OP):

Mr. Silverstone is just dying to meet you.

TEDD:

So you’re just gonna leave them!

PANEL 2.

SIDE-VIEW of Tedd standing opposite a police officer on the

right having a heat conversation.

TEDD:

They’re just kids! One has been kidnapped, and the others have

run off after those….those thugs!

OFFICER:

I’m sorry son, it’s out of our hands.

PANEL 3.

FRONT-VIEW of Tedd.

TEDD:

Your sorry…

PANEL 4.

BACK-VIEW of JR watching Tedd argue with the police officer.

TEDD:

Isn’t it your job? What’s the matter with you? He only has power

over us if we let him. If the police won’t protect us from

Silverstone, then who will? Huh!

PANEL 5.

CLOSE-UP of JR looking up in shock at hearing the name.

OFFICER (OP):

I’m sorry. We can’t.

186



24


PANEL 1.

SIDE-VIEW of Tedd arguing with the police officer. See JR

approaching from the background.

TEDD:

Then if you won’t, I’m going after Silverstone myself.

PANEL 2.

FRONT-VIEW of Tedd as he looks down at JR.

TEDD:

I’m sorry, Jerome, I need to go.

PANEL 3.

FRONT-VIEW of Tedd kneeling down with his left hand on JR’s

head. Barely managing a smile.

TEDD:

Your mom will be here soon, just wait for her here okay?

PANEL 4.

FRONT-VIEW of JR look up at Tedd. Tedd hand leaving JR’s head.

PANEL 5.

JR’s POV watching Tedd walk away towards the alleyway exit in

the distance.



25

PAGE TWENTY FOUR (four panels)

PANEL 1.

FRONT-VIEW CLOSE-UP of JR.

JR (WHISPERS):

Silverstone…

PANEL 2.

SIDE-VIEW of MX and KC running.

PANEL 3.


MX (WHISPERS):

Silverstone.

PANEL 4.

FRONT-VIEW OF Tedd strutting down the alleyway, his right hand

is to his ear with a mobile phone in hand.

TEDD (WHISPERS):

Silverstone.

187187

LOST BOYS

THE JOURNEY



24


PANEL 1.

SIDE-VIEW of Tedd arguing with the police officer. See JR

approaching from the background.

TEDD:

Then if you won’t, I’m going after Silverstone myself.

PANEL 2.

FRONT-VIEW of Tedd as he looks down at JR.

TEDD:

I’m sorry, Jerome, I need to go.

PANEL 3.

FRONT-VIEW of Tedd kneeling down with his left hand on JR’s

head. Barely managing a smile.

TEDD:

Your mom will be here soon, just wait for her here okay?

PANEL 4.

FRONT-VIEW of JR look up at Tedd. Tedd hand leaving JR’s head.

PANEL 5.

JR’s POV watching Tedd walk away towards the alleyway exit in

the distance.



25

PAGE TWENTY FOUR (four panels)

PANEL 1.

FRONT-VIEW CLOSE-UP of JR.

JR (WHISPERS):

Silverstone…

PANEL 2.

SIDE-VIEW of MX and KC running.

PANEL 3.


MX (WHISPERS):

Silverstone.

PANEL 4.

FRONT-VIEW OF Tedd strutting down the alleyway, his right hand

is to his ear with a mobile phone in hand.

TEDD (WHISPERS):

Silverstone.

188



26

PAGE TWENTY FIVE (five panels)

PANEL 1.

City Skyline. Silverstone’s building is seen in the centre.

PANEL 2.

Silverstone’s OFFICE INTERIOR.

FRONT-VIEW of an elevator door opening. The Masqueraders and GT

are in the elevator.

PANEL 3.

BACK-VIEW of the Masqueraders walking out of the elevator into a

secretary’s office.

PANEL 4.

SIDE-VIEW of the Masqueraders walk past a secretary’s desk

towards a large double door.



27


PANEL 1.

Masq. Leader’s POV looking down at GT. GT has his head down.

MASQ. LEADER (OP):

Wake up kid.

PANEL 2.

CLOSE-UP of GT lift his head up. A line of light shines inn the

centre of his face as the doors open.

MASQ. LEADER (OP):

We’re here.

PANEL 3.

BACK-VIEW of the Masq. Leader pushing the doors open, the other

thugs and GT stand behind him.

MASQ. LEADER:

It’s showtime.

PANEL 4.

WIDE-VIEW of Silverstone’s office. Silverstone stands behind his

desk, looking out of his glass curtain wall.

PANEL 5.

BACK-VIEW CLOSE-UP of Silverstone’s head and shoulder’s as he

turns to look to his left behind him slightly.

189189

LOST BOYS

THE JOURNEY



26


PANEL 1.

City Skyline. Silverstone’s building is seen in the centre.

PANEL 2.

Silverstone’s OFFICE INTERIOR.

FRONT-VIEW of an elevator door opening. The Masqueraders and GT

are in the elevator.

PANEL 3.

BACK-VIEW of the Masqueraders walking out of the elevator into a

secretary’s office.

PANEL 4.

SIDE-VIEW of the Masqueraders walk past a secretary’s desk

towards a large double door.



27


PANEL 1.

Masq. Leader’s POV looking down at GT. GT has his head down.

MASQ. LEADER (OP):

Wake up kid.

PANEL 2.

CLOSE-UP of GT lift his head up. A line of light shines inn the

centre of his face as the doors open.

MASQ. LEADER (OP):

We’re here.

PANEL 3.

BACK-VIEW of the Masq. Leader pushing the doors open, the other

thugs and GT stand behind him.

MASQ. LEADER:

It’s showtime.

PANEL 4.

WIDE-VIEW of Silverstone’s office. Silverstone stands behind his

desk, looking out of his glass curtain wall.

PANEL 5.

BACK-VIEW CLOSE-UP of Silverstone’s head and shoulder’s as he

turns to look to his left behind him slightly.

190



28

PAGE TWENTY SEVEN (five panels)

PANEL 1.

OVER HEAD-VIEW the city streets. A black limousine driving along

the road.

PANEL 2.

FRONT-VIEW of JR and his mother sitting at the back of a car

together.

JR:

Where’s dad?

JR’s MOTHER:

He’s got that important meeting tonight across town remember.

JR:

…With Mr. Silverstone?

JR’s MOTHER:

Yes, that’s right. With Mr. Silverstone. Why?

PANEL 3.

CLOSE-UP of JR looking to the side out of the window of the car.

PANEL 4.

JR’s POV of MX and KC running ahead.

PANEL 5.

OVER HEAD-VIEW of JR’s car turn left, while KC and MX are seen

running straight ahead.

PANEL 6.

BACK-VIEW of MX running. KC stops behind him, leaning over with

her hands on her thighs.

JR (OP):

I…



29

PAGE TWENTY EIGHT (six panels)

PANEL 1.

FRONT-VIEW of KC looking exhausted and flushed. She looks up at

MX.

KC:

Max!

PANEL 2.

FRONT-VIEW of MX stopping. See KC behind him walking upto him.

PANEL 3.

CLOSE-UP of MX looking flushed, and out of breath. But still

looks as determined as ever.

PANEL 4.

CLOSE-UP of Tedd frowning.

MX:

Max is in trouble.

PANEL 5.

BACK-VIEW of Tedd crossing a road towards Cyn standing ahead of

him, leaning against a black van. She is in a black suit like

the Masqueraders, but she don’t wear a hat or a mask. She has

brown hair like MX, in a ponytail, down to the middle of her

back.

PANEL 6.

CLOSE-UP of Cyn turn her head to her left over her shoulder to

look at Tedd.

CYN:

Of course he is…

THE END

191191

LOST BOYS

THE JOURNEY



28

PAGE TWENTY SEVEN (five panels)

PANEL 1.

OVER HEAD-VIEW the city streets. A black limousine driving along

the road.

PANEL 2.

FRONT-VIEW of JR and his mother sitting at the back of a car

together.

JR:

Where’s dad?

JR’s MOTHER:

He’s got that important meeting tonight across town remember.

JR:

…With Mr. Silverstone?

JR’s MOTHER:

Yes, that’s right. With Mr. Silverstone. Why?

PANEL 3.

CLOSE-UP of JR looking to the side out of the window of the car.

PANEL 4.

JR’s POV of MX and KC running ahead.

PANEL 5.

OVER HEAD-VIEW of JR’s car turn left, while KC and MX are seen

running straight ahead.

PANEL 6.

BACK-VIEW of MX running. KC stops behind him, leaning over with

her hands on her thighs.

JR (OP):

I…



29

PAGE TWENTY EIGHT (six panels)

PANEL 1.

FRONT-VIEW of KC looking exhausted and flushed. She looks up at

MX.

KC:

Max!

PANEL 2.

FRONT-VIEW of MX stopping. See KC behind him walking upto him.

PANEL 3.

CLOSE-UP of MX looking flushed, and out of breath. But still

looks as determined as ever.

PANEL 4.

CLOSE-UP of Tedd frowning.

MX:

Max is in trouble.

PANEL 5.

BACK-VIEW of Tedd crossing a road towards Cyn standing ahead of

him, leaning against a black van. She is in a black suit like

the Masqueraders, but she don’t wear a hat or a mask. She has

brown hair like MX, in a ponytail, down to the middle of her

back.

PANEL 6.

CLOSE-UP of Cyn turn her head to her left over her shoulder to

look at Tedd.

CYN:

Of course he is…

THE END

192



“LOST BOYS”

SCRIPT (ISSUE #5)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

193193

LOST BOYS

THE JOURNEY



“LOST BOYS”

SCRIPT (ISSUE #5)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

194



2


CREDITS PAGE

PANEL 1.

SIDE-VIEW of Cyn standing opposite Tedd. Cyn on the left, Tedd

on the right. A van is parked beside Cyn.

MX:

Max is in trouble.

CYN:

Of course he is…

PANEL 2.

SIDE-VIEW CLOSE-UP of Cyn.

CYN:

Well?

PANEL 3.


CYN (OP):

What the fuck do you expect me to do about it?

PANEL 4.

WIDE-VIEW of the city skyline. Silverstone’s skyscraper is seen

amongst the buildings.

TEDD (OP):

Cyn…



3

PAGE TWO (six panels)

PANEL 1.

WIDE-VIEW of Silverstone’s office INTERIOR.

BACK-VIEW of the Masqueraders standing with GT just watching and

waiting for Silverstone to acknowledge them. Silverstone stands

behind his desk, looking out of his glass curtain wall with his

hands coupled behind his back.

PANEL 2.

Right SIDE-VIEW of the Masq. Leader.

PANEL 3.

CLOSE-UP of GT looking ahead at Silverstone.

PANEL 4.

BACK-VIEW of Silverstone.

PANEL 5.

Right SIDE-VIEW of Silverstone looking out of the window.

PANEL 6.

Silverstone’s POV of the city out of the window.

195195

LOST BOYS

THE JOURNEY



2


CREDITS PAGE

PANEL 1.

SIDE-VIEW of Cyn standing opposite Tedd. Cyn on the left, Tedd

on the right. A van is parked beside Cyn.

MX:

Max is in trouble.

CYN:

Of course he is…

PANEL 2.

SIDE-VIEW CLOSE-UP of Cyn.

CYN:

Well?

PANEL 3.


CYN (OP):

What the fuck do you expect me to do about it?

PANEL 4.

WIDE-VIEW of the city skyline. Silverstone’s skyscraper is seen

amongst the buildings.

TEDD (OP):

Cyn…



3

PAGE TWO (six panels)

PANEL 1.

WIDE-VIEW of Silverstone’s office INTERIOR.

BACK-VIEW of the Masqueraders standing with GT just watching and

waiting for Silverstone to acknowledge them. Silverstone stands

behind his desk, looking out of his glass curtain wall with his

hands coupled behind his back.

PANEL 2.

Right SIDE-VIEW of the Masq. Leader.

PANEL 3.

CLOSE-UP of GT looking ahead at Silverstone.

PANEL 4.


PANEL 5.

Right SIDE-VIEW of Silverstone looking out of the window.

PANEL 6.

Silverstone’s POV of the city out of the window.

196



4


PANEL 1.

FRONT-VIEW of Silverstone standing behind the window.

PANEL 2.

CLOSE-UP Left SIDE-VIEW of Silverstone’s face.

SILVERSTONE:

Peter never got along with his father

PANEL 3.


SILVERSTONE:

He was a tyrannical, abusive, drunk.

PANEL 4.

FLASHBACK

Early 20th Century Setting.

A woman huddles up with her pre-teen son in the corner of the

room.

SILVERSTONE (OP):

His mother, was a timid little thing.



5


PANEL 1.

FLASHBACK


The woman’s POV looking up at the man standing in an imposing

stance.

SILVERSTONE (OP):

Always careful never to rub him the wrong way, or to step on his

toes when he was enjoying his drink.

PANEL 2.

FLASHBACK


CLOSE-UP of the woman’s face, cuddled next to Peter. His eyes

are closed.

SILVERSTONE:

Despite how poorly he treated her and Peter, she still loved

him, and refused to leave.

PANEL 3.

FLASHBACK


CLOSE-UP of Peter open his eyes.

SILVERSTONE:

One day, Peter came to the realization that if his mother would

not stand upto his father, then the task was down to him.

PANEL 4.

FLASHBACK


Peter’s POV watching the man walk away through the adjacent

dorrway.

SILVERSTONE:

He was convinced that it was his duty to protect himself and his

mother from his father.

197197

LOST BOYS

THE JOURNEY



4


PANEL 1.

FRONT-VIEW of Silverstone standing behind the window.

PANEL 2.

CLOSE-UP Left SIDE-VIEW of Silverstone’s face.

SILVERSTONE:

Peter never got along with his father

PANEL 3.


SILVERSTONE:

He was a tyrannical, abusive, drunk.

PANEL 4.

FLASHBACK


A woman huddles up with her pre-teen son in the corner of the

room.

SILVERSTONE (OP):

His mother, was a timid little thing.



5


PANEL 1.

FLASHBACK


The woman’s POV looking up at the man standing in an imposing

stance.

SILVERSTONE (OP):

Always careful never to rub him the wrong way, or to step on his

toes when he was enjoying his drink.

PANEL 2.

FLASHBACK


CLOSE-UP of the woman’s face, cuddled next to Peter. His eyes

are closed.

SILVERSTONE:

Despite how poorly he treated her and Peter, she still loved

him, and refused to leave.

PANEL 3.

FLASHBACK


CLOSE-UP of Peter open his eyes.

SILVERSTONE:

One day, Peter came to the realization that if his mother would

not stand upto his father, then the task was down to him.

PANEL 4.

FLASHBACK


Peter’s POV watching the man walk away through the adjacent

dorrway.

SILVERSTONE:

He was convinced that it was his duty to protect himself and his

mother from his father.

198



7


PANEL 1.

FLASHBACK


OVER HEAD-VIEW of Peter with his mother in the corner of the

room. A table and chair are tossed over onto their sides.

SILVERSTONE:

He surmised that it was essentially just a waiting game.

PANEL 2.

FLASHBACK


WIDE-VIEW of an office with a ship in a bottle on the desk.

SILVERSTONE:

That once he was old enough, he’d be able to take on his father

all by himself. He had to be both physically and mentally

prepared.

PANEL 3.

FLASHBACK


CLOSE-UP of the Pirate ship inside of a wine bottle.

SILVERSTONE:

And so when the day finally came that the sounds of his mother’s

cries were just too much for him—but just enough to give him the

courage—he took one of his father’s prized impossible bottles…

PANEL 4.

FLASHBACK


Peter’s POV looking down at an unconscious man on the floor in

the office.

SILVERSTONE:

…and cracked his old man over the head with it.



8


PANEL 1.

FLASHBACK


BACK-VIEW of Peter standing over the unconscious man. Peter has

a broken bottle in hand. Shards of glass lay around the man’s

head, and a blood is beginning to pool beneath him too.

SILVERSTONE:

That was the end of all his problems…

PANEL 2.

FLASHBACK


FRONT-VIEW of the woman standing between a doorway.

SILVERSTONE:

Or so he thought.

PANEL 3.

FLASHBACK


FRONT-VIEW of Peter turning around, crying and smiling. Still

with the bottle in hand.

SILVERSTONE:

Peter turned to his mother.

PANEL 4.

FLASHBACK


CLOSE-UP of Peter crying tears of joy.

SILVERSTONE:

His eyes swelling with tears.

199199

LOST BOYS

THE JOURNEY



7


PANEL 1.

FLASHBACK


OVER HEAD-VIEW of Peter with his mother in the corner of the

room. A table and chair are tossed over onto their sides.

SILVERSTONE:

He surmised that it was essentially just a waiting game.

PANEL 2.

FLASHBACK


WIDE-VIEW of an office with a ship in a bottle on the desk.

SILVERSTONE:

That once he was old enough, he’d be able to take on his father

all by himself. He had to be both physically and mentally

prepared.

PANEL 3.

FLASHBACK


CLOSE-UP of the Pirate ship inside of a wine bottle.

SILVERSTONE:

And so when the day finally came that the sounds of his mother’s

cries were just too much for him—but just enough to give him the

courage—he took one of his father’s prized impossible bottles…

PANEL 4.

FLASHBACK


Peter’s POV looking down at an unconscious man on the floor in

the office.

SILVERSTONE:

…and cracked his old man over the head with it.



8


PANEL 1.

FLASHBACK


BACK-VIEW of Peter standing over the unconscious man. Peter has

a broken bottle in hand. Shards of glass lay around the man’s

head, and a blood is beginning to pool beneath him too.

SILVERSTONE:

That was the end of all his problems…

PANEL 2.

FLASHBACK


FRONT-VIEW of the woman standing between a doorway.

SILVERSTONE:

Or so he thought.

PANEL 3.

FLASHBACK


FRONT-VIEW of Peter turning around, crying and smiling. Still

with the bottle in hand.

SILVERSTONE:

Peter turned to his mother.

PANEL 4.

FLASHBACK


CLOSE-UP of Peter crying tears of joy.

SILVERSTONE:

His eyes swelling with tears.

200



9


PANEL 1.

FLASHBACK


CLOSE-UP of the broken bottle dripping with blood still gripped

by the bottle neck in his right hand.

SILVERSTONE:

His father’s blood dripping from the broken bottle—still firmly

sealed in his right hand—expecting a rush of gratitude and

praise from the woman he risked it all for.

PANEL 2.

OVER HEAD-VIEW of the woman charge towards Peter in a monstrous

fasion with her arms up in the air. Peter steps back afraid. The

man’s body still lying at their feet.

SILVERSTONE:

Instead…she barreled at him, screeching like a banshee, rabid

and seething with fury.

PANEL 3.

FLASHBACK


CLOSE-UP of the rabid and furious woman charge forwards, crying

and screaming.

SILVERSTONE:

And in one quick instinctive motion from Peter…

PANEL 4.

FLASHBACK


CLOSE-UP of Peter’s horrified and astonished expression. Specks

of blood across his face.

SILVERSTONE:

He was Peter Pan, the orphan.



10


PANEL 1.

FLASHBACK


BACK-VIEW of Peter with a man and woman both lying at his feet.

The bottle still in hand.

SILVERSTONE:

Forever reliving the brutality of his action which led him to

his current position.

PANEL 2.

FLASHBACK


OVER HEAD-VIEW of Peter standing in the office, with the man and

woman lying at his feet in pools of blood.

SILVERSTONE:

Refusing to grow up, and believing that all was as it once was,

when he safe within the embrace of his mother.

PANEL 3.

FLASHBACK


CLOSE-UP of Peter drop the bottle.

SILVERSTONE:

If only he had never grown up.

PANEL 4.

FLASHBACK


BACK-VIEW of Peter running out of the room through the door.

SILVERSTONE:

If only he hadn’t taken responsibility.

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LOST BOYS

THE JOURNEY



9


PANEL 1.

FLASHBACK


CLOSE-UP of the broken bottle dripping with blood still gripped

by the bottle neck in his right hand.

SILVERSTONE:

His father’s blood dripping from the broken bottle—still firmly

sealed in his right hand—expecting a rush of gratitude and

praise from the woman he risked it all for.

PANEL 2.

OVER HEAD-VIEW of the woman charge towards Peter in a monstrous

fasion with her arms up in the air. Peter steps back afraid. The

man’s body still lying at their feet.

SILVERSTONE:

Instead…she barreled at him, screeching like a banshee, rabid

and seething with fury.

PANEL 3.

FLASHBACK


CLOSE-UP of the rabid and furious woman charge forwards, crying

and screaming.

SILVERSTONE:

And in one quick instinctive motion from Peter…

PANEL 4.

FLASHBACK


CLOSE-UP of Peter’s horrified and astonished expression. Specks

of blood across his face.

SILVERSTONE:

He was Peter Pan, the orphan.



10


PANEL 1.

FLASHBACK


BACK-VIEW of Peter with a man and woman both lying at his feet.

The bottle still in hand.

SILVERSTONE:

Forever reliving the brutality of his action which led him to

his current position.

PANEL 2.

FLASHBACK


OVER HEAD-VIEW of Peter standing in the office, with the man and

woman lying at his feet in pools of blood.

SILVERSTONE:

Refusing to grow up, and believing that all was as it once was,

when he safe within the embrace of his mother.

PANEL 3.

FLASHBACK


CLOSE-UP of Peter drop the bottle.

SILVERSTONE:

If only he had never grown up.

PANEL 4.

FLASHBACK


BACK-VIEW of Peter running out of the room through the door.

SILVERSTONE:

If only he hadn’t taken responsibility.

202



11


PANEL 1.

FLASHBACK


CLOSE-UP SIDE-VIEW of Peter running to the left.

SILVERSTONE:

If only he accepted his life for what it was.

PANEL 2.

FLASHBACK


CLOSE-UP of Peter’s face as he is running.

SILVERSTONE:

If only.

PANEL 3.

FLASHBACK


BACK-VIEW of Peter opening the front door.

SILVERSTONE:

No more bed time stories.

PANEL 4.

FLASHBACK


OVER HEAD-VIEW of a woman lying in a pool of blood on the floor.

SILVERSTONE:

No more mother.



12


PANEL 1.

FLASHBACK


OVER HEAD-VIEW of a man lying in a pool of blood on the floor.

SILVERSTONE:

No more father.

PANEL 2.

FLASHBACK


CLOSE-UP of a pirate ship model floating in a puddle of blood.

SILVERSTONE:

Only the image of his father’s ship, laying beside his head,

wading in a puddle of his own blood, keeping him up all night

for the rest of his life, as long as he lives.

PANEL 3.

FLASHBACK


BACK-VIEW of the front door wide open.

SILVERSTONE:

Forever immortalized in the world of his mind.

PANEL 4.

CLOSE-UP Right SIDE-VIEW of Silverstone’s face.

SILVERSTONE:

Peter Pan of Neverland, the boy who never grew up.

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11


PANEL 1.

FLASHBACK


CLOSE-UP SIDE-VIEW of Peter running to the left.

SILVERSTONE:

If only he accepted his life for what it was.

PANEL 2.

FLASHBACK


CLOSE-UP of Peter’s face as he is running.

SILVERSTONE:

If only.

PANEL 3.

FLASHBACK


BACK-VIEW of Peter opening the front door.

SILVERSTONE:

No more bed time stories.

PANEL 4.

FLASHBACK


OVER HEAD-VIEW of a woman lying in a pool of blood on the floor.

SILVERSTONE:

No more mother.



12


PANEL 1.

FLASHBACK


OVER HEAD-VIEW of a man lying in a pool of blood on the floor.

SILVERSTONE:

No more father.

PANEL 2.

FLASHBACK


CLOSE-UP of a pirate ship model floating in a puddle of blood.

SILVERSTONE:

Only the image of his father’s ship, laying beside his head,

wading in a puddle of his own blood, keeping him up all night

for the rest of his life, as long as he lives.

PANEL 3.

FLASHBACK


BACK-VIEW of the front door wide open.

SILVERSTONE:

Forever immortalized in the world of his mind.

PANEL 4.

CLOSE-UP Right SIDE-VIEW of Silverstone’s face.

SILVERSTONE:

Peter Pan of Neverland, the boy who never grew up.

204



13


PANEL 1.

BACK-VIEW of Silverstone turn around, walking towards the right

of his desk.

PANEL 2.

Left SIDE-VIEW of Silverstone walk across the room, picking his

trench coat and hat from a coat stand.

MASQ. LEADER (OP):

Er…Great story boss…

PANEL 3.

CLOSE-UP of the Masq. Leader.

MASQ. LEADER:

What should we do with the kid.

PANEL 4.

FRONT-VIEW of Silverstone holding his coat draped over his right

forearm, his hat in hand, not looking up while speaking.

SILVERSTONE:

Hmmm. Just dump him. He’s leant his lesson.

PANEL 5.

CLOSE-UP of Silverstone placing his hat on his head.

SILVERSTONE:

Haven’t you boy?

PANEL 6.

CLOSE-UP of GT looking down, he is still being held by his

collar.



14


PANEL 1.

SIDE-VIEW of Silverstone walk through the Masqueraders and GT,

pushing open the door. The Masq. Leader looks to Silverstone as

he walks past.

MASQ. LEADER:

Uh-huh. Right…

PANEL 2.

Masq. Leader’s POV of Silverstone walk upto the secretary’s desk

through the open crack of the door as it closes.

PANEL 3.

SIDE-VIEW of Silverstone at the desk.

PANEL 4.

Secretary’s POV looking up at Silverstone, towering above her.

SILVERSTONE:

Let Logan know I’m on my way down now.

PANEL 5.

FRONT-VIEW of the secretary’s desk. BACK-VIEW of Silverstone

walking away left towards the elevator. The secretary is on the

phone looking to Silverstone.

SECRETARY:

Yessir.

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LOST BOYS

THE JOURNEY



13


PANEL 1.

BACK-VIEW of Silverstone turn around, walking towards the right

of his desk.

PANEL 2.

Left SIDE-VIEW of Silverstone walk across the room, picking his

trench coat and hat from a coat stand.

MASQ. LEADER (OP):

Er…Great story boss…

PANEL 3.


MASQ. LEADER:

What should we do with the kid.

PANEL 4.

FRONT-VIEW of Silverstone holding his coat draped over his right

forearm, his hat in hand, not looking up while speaking.

SILVERSTONE:

Hmmm. Just dump him. He’s leant his lesson.

PANEL 5.

CLOSE-UP of Silverstone placing his hat on his head.

SILVERSTONE:

Haven’t you boy?

PANEL 6.

CLOSE-UP of GT looking down, he is still being held by his

collar.



14


PANEL 1.

SIDE-VIEW of Silverstone walk through the Masqueraders and GT,

pushing open the door. The Masq. Leader looks to Silverstone as

he walks past.

MASQ. LEADER:

Uh-huh. Right…

PANEL 2.

Masq. Leader’s POV of Silverstone walk upto the secretary’s desk

through the open crack of the door as it closes.

PANEL 3.

SIDE-VIEW of Silverstone at the desk.

PANEL 4.

Secretary’s POV looking up at Silverstone, towering above her.

SILVERSTONE:

Let Logan know I’m on my way down now.

PANEL 5.

FRONT-VIEW of the secretary’s desk. BACK-VIEW of Silverstone

walking away left towards the elevator. The secretary is on the

phone looking to Silverstone.

SECRETARY:

Yessir.

206



15


PANEL 1.

FRONT-VIEW of the Masq. Leader push through the door, walking

out of Silverstone’s office. GT is being held by the other thugs

behind the Leader.

PANEL 2.

CLOSE-UP of the Leader’s face. He nods slightly to Silverstone.

PANEL 3.

Masq. Leader’s POV of Silverstone in the elevator shaft as the

doors are closing.

PANEL 4.

CLOSE-UP of Silverstone’s face and shoulders, the elevator doors

are five inches from closing. Silverstone looks ahead and nods

slightly.



16


PANEL 1.

BACK-VIEW of Cyn getting into her black van.

CYN:

You’ve been with him all this time—

PANEL 2.

SIDE-VIEW of Cyn in the driver’s seat closing the door.

CYN:

—you probably know him better than I do—

PANEL 3.

CLOSE-UP of Tedd’s left hand grabbing the door before it shuts.

CYN (OP):

—I’m sure you can handle this…

TEDD:

LOOK!

PANEL 4.

Tedd’s POV looking up at Cyn squinting and scowling, looking

down at Tedd.

TEDD:

Max is in trouble. I can’t do this alone. He’s gone AWOL-again-

and he needs to know that his family are here for him.

PANEL 5.

Cyn’s POV looking down at Tedd. Tedd is standing between her and

the door, scowling and looking up at her, with an unwavering

strong expression. His left arm still firmly holding the door

open.

TEDD:

If he’s got himself into something that he can’t handle alone,

and has the urge to run, then it’s US he needs to run to! We

need to find him, and help him. Now.

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LOST BOYS

THE JOURNEY



15


PANEL 1.

FRONT-VIEW of the Masq. Leader push through the door, walking

out of Silverstone’s office. GT is being held by the other thugs

behind the Leader.

PANEL 2.

CLOSE-UP of the Leader’s face. He nods slightly to Silverstone.

PANEL 3.

Masq. Leader’s POV of Silverstone in the elevator shaft as the

doors are closing.

PANEL 4.

CLOSE-UP of Silverstone’s face and shoulders, the elevator doors

are five inches from closing. Silverstone looks ahead and nods

slightly.



16


PANEL 1.

BACK-VIEW of Cyn getting into her black van.

CYN:

You’ve been with him all this time—

PANEL 2.

SIDE-VIEW of Cyn in the driver’s seat closing the door.

CYN:

—you probably know him better than I do—

PANEL 3.

CLOSE-UP of Tedd’s left hand grabbing the door before it shuts.

CYN (OP):

—I’m sure you can handle this…

TEDD:

LOOK!

PANEL 4.

Tedd’s POV looking up at Cyn squinting and scowling, looking

down at Tedd.

TEDD:

Max is in trouble. I can’t do this alone. He’s gone AWOL-again-

and he needs to know that his family are here for him.

PANEL 5.

Cyn’s POV looking down at Tedd. Tedd is standing between her and

the door, scowling and looking up at her, with an unwavering

strong expression. His left arm still firmly holding the door

open.

TEDD:

If he’s got himself into something that he can’t handle alone,

and has the urge to run, then it’s US he needs to run to! We

need to find him, and help him. Now.

208



17

PAGE FIFTEEN (four panels)

PANEL 1.

SIDE-VIEW of Cyn’s upper body turn to look ahead while in the

van. Her hands are on the steering wheel.

CYN:

Fine—

PANEL 2.

CLOSE-UP of Cyn’s mouth.

CYN:

—Get in.

PANEL 3.

OVER HEAD-VIEW of Tedd running around the Van to get in the

passenger seat.

TEDD (OP):

Good. We’re are we going?

CYN (OP):

Where else?

PANEL 4.

OVER HEAD-VIEW of the city.

CYN (OP):

To see my boss…



18


PANEL 1.

BACK-VIEW of Silverstone walking towards the exit of his

building. He is heading towards a revolving door.

PANEL 2.

CLOSE-UP BACK-VIEW of Silverstone walking through the Revolving

door.

PANEL 3.

CLOSE-UP SIDE-VIEW of Silverstone walking out of the building.

DOOR MAN (OP):

Mr. Silverstone.

PANEL 4.

Silverstone’s POV looking at a black car before him, the door

held open the doorman.

PANEL 5.

BACK-VIEW of Silverstone getting into the car, the doorman holds

the door open.

209209

LOST BOYS

THE JOURNEY



17


PANEL 1.

SIDE-VIEW of Cyn’s upper body turn to look ahead while in the

van. Her hands are on the steering wheel.

CYN:

Fine—

PANEL 2.

CLOSE-UP of Cyn’s mouth.

CYN:

—Get in.

PANEL 3.

OVER HEAD-VIEW of Tedd running around the Van to get in the

passenger seat.

TEDD (OP):

Good. We’re are we going?

CYN (OP):

Where else?

PANEL 4.


CYN (OP):

To see my boss…



18


PANEL 1.

BACK-VIEW of Silverstone walking towards the exit of his

building. He is heading towards a revolving door.

PANEL 2.

CLOSE-UP BACK-VIEW of Silverstone walking through the Revolving

door.

PANEL 3.

CLOSE-UP SIDE-VIEW of Silverstone walking out of the building.

DOOR MAN (OP):

Mr. Silverstone.

PANEL 4.

Silverstone’s POV looking at a black car before him, the door

held open the doorman.

PANEL 5.

BACK-VIEW of Silverstone getting into the car, the doorman holds

the door open.

210



19


PANEL 1.

WIDE-VIEW of the car interior backseat. There is a wide “U”

shape sofa as the backseat. Jerome Logan sr. is sitting in the

back of the car as Silverstone sits opposite him.

PANEL 2.

CLOSE-UP of Logan sr.

PANEL 3.

FRONT-VIEW of Silverstone taking his hat off, obscuring his

face.

LOGAN:

Dominic.

PANEL 4.

CLOSE-UP of Silverstone’s face.

SILVERSTONE:

Logan.



20


PANEL 1.

Silverstone’s BACK-VIEW POV of the driver with his head turned

to his right.

SILVERSTONE (OP):

We’re late—

PANEL 2.

SIDE-VIEW of the car starting to drive off. See the building

entrance behind, the doorman standing beside the revolving door.

Watching the car drive off.

SILVERSTONE (OP):

—Let’s go.

PANEL 3.

Doorman’s POV watching the car drive off.

PANEL 4.

OVER HEAD-VIEW of the car driving through the city.

211211

LOST BOYS

THE JOURNEY



19


PANEL 1.

WIDE-VIEW of the car interior backseat. There is a wide “U”

shape sofa as the backseat. Jerome Logan sr. is sitting in the

back of the car as Silverstone sits opposite him.

PANEL 2.

CLOSE-UP of Logan sr.

PANEL 3.

FRONT-VIEW of Silverstone taking his hat off, obscuring his

face.

LOGAN:

Dominic.

PANEL 4.

CLOSE-UP of Silverstone’s face.

SILVERSTONE:

Logan.



20


PANEL 1.

Silverstone’s BACK-VIEW POV of the driver with his head turned

to his right.

SILVERSTONE (OP):

We’re late—

PANEL 2.

SIDE-VIEW of the car starting to drive off. See the building

entrance behind, the doorman standing beside the revolving door.

Watching the car drive off.

SILVERSTONE (OP):

—Let’s go.

PANEL 3.

Doorman’s POV watching the car drive off.

PANEL 4.

OVER HEAD-VIEW of the car driving through the city.

212



21


PANEL 1.

CLOSE-UP of MX’s exhausted face as he’s running down the street.

KC is seen beside him on the left, and slightly behind him, just

as exhausted.

PANEL 2.

BACK-VIEW of MX and KC running.

KC:

Max…

PANEL 3.

KC’s exhausted face as she tries to speak.

KC:

Max!

PANEL 4.

Left SIDE-VIEW of MX and KC. KC is seemingly stopping. MX is

looking at KC.

PANEL 5.

CLOSE-UP of MX eyes shift to the right.



22

PAGE TWENTY (six panels)

PANEL 1.

POV of Silverstone’s car driving around a corner in the

distance.

PANEL 2.

FRONT-VIEW of MX stopping and looking curiously ahead.

MX:

That car…

PANEL 3.

FRONT-VIEW of KC, with her hands on her thighs, bent over

slightly.

KC:

What?

PANEL 4.

FRONT-VIEW of MX pointing behind him towards the street he saw

the car. He looks frantic. BACK-VIEW of KC standing in front of

him.

MX:

Did you see it? It came from his building!

PANEL 5.

BACK-VIEW of KC. See MX turn and run across the street.

MX:

Come on!

PANEL 6.

CLOSE-UP of KC roll her eyes.

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LOST BOYS

THE JOURNEY



21


PANEL 1.

CLOSE-UP of MX’s exhausted face as he’s running down the street.

KC is seen beside him on the left, and slightly behind him, just

as exhausted.

PANEL 2.

BACK-VIEW of MX and KC running.

KC:

Max…

PANEL 3.

KC’s exhausted face as she tries to speak.

KC:

Max!

PANEL 4.

Left SIDE-VIEW of MX and KC. KC is seemingly stopping. MX is

looking at KC.

PANEL 5.

CLOSE-UP of MX eyes shift to the right.



22

PAGE TWENTY (six panels)

PANEL 1.

POV of Silverstone’s car driving around a corner in the

distance.

PANEL 2.

FRONT-VIEW of MX stopping and looking curiously ahead.

MX:

That car…

PANEL 3.

FRONT-VIEW of KC, with her hands on her thighs, bent over

slightly.

KC:

What?

PANEL 4.

FRONT-VIEW of MX pointing behind him towards the street he saw

the car. He looks frantic. BACK-VIEW of KC standing in front of

him.

MX:

Did you see it? It came from his building!

PANEL 5.

BACK-VIEW of KC. See MX turn and run across the street.

MX:

Come on!

PANEL 6.

CLOSE-UP of KC roll her eyes.

214



23

PAGE TWENTY ONE (seven panels)

PANEL 1.

FRONT-VIEW of KC running across the street.

PANEL 2.

CLOSE-UP FRONT-VIEW of a black van driving fast.

PANEL 3.

CLOSE-UP of KC looking to her right surprised as the car heads

towards her.

PANEL 4.

BACK-VIEW of MX stop and whip his head around.

PANEL 5.

MX’s POV of a black van speed down the road KC was running

across. KC isn’t in sight. The Masq. Leader is seen in the

passenger seat.

PANEL 6.

CLOSE-UP POV of the Masq. Leader in the passenger seat of the

van as it drives off.

PANEL 7.

CLOSE-UP of MX face looking shocked and horrified.



24

PAGE TWENTY TWO (seven panels)

PANEL 1.

FRONT-VIEW of KC falling on her back. She jumped out of the way

of the van.

PANEL 2.

BACK-VIEW of KC on the ground, MX runs up to her.

PANEL 3.

FRONT-VIEW of KC getting up.

PANEL 4.

FRONT-VIEW of MX pulling KC up. MX looks almost rabid as he is

screaming at KC.

PANEL 5.

CLOSE-UP of KC.

PANEL 6.

BACK-VIEW of KC and MX looking towards the van in the distance.

PANEL 7.

SIDE-VIEW of KC facing left. A blur of MX is seen running past

KC.

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LOST BOYS

THE JOURNEY



23

PAGE TWENTY ONE (seven panels)

PANEL 1.

FRONT-VIEW of KC running across the street.

PANEL 2.

CLOSE-UP FRONT-VIEW of a black van driving fast.

PANEL 3.

CLOSE-UP of KC looking to her right surprised as the car heads

towards her.

PANEL 4.

BACK-VIEW of MX stop and whip his head around.

PANEL 5.

MX’s POV of a black van speed down the road KC was running

across. KC isn’t in sight. The Masq. Leader is seen in the

passenger seat.

PANEL 6.

CLOSE-UP POV of the Masq. Leader in the passenger seat of the

van as it drives off.

PANEL 7.

CLOSE-UP of MX face looking shocked and horrified.



24

PAGE TWENTY TWO (seven panels)

PANEL 1.

FRONT-VIEW of KC falling on her back. She jumped out of the way

of the van.

PANEL 2.

BACK-VIEW of KC on the ground, MX runs up to her.

PANEL 3.

FRONT-VIEW of KC getting up.

PANEL 4.

FRONT-VIEW of MX pulling KC up. MX looks almost rabid as he is

screaming at KC.

PANEL 5.

CLOSE-UP of KC.

PANEL 6.

BACK-VIEW of KC and MX looking towards the van in the distance.

PANEL 7.

SIDE-VIEW of KC facing left. A blur of MX is seen running past

KC.

216



25

PAGE TWENTY THREE (three panels)

PANEL 1.

BACK-VIEW of KC and MX running down the street.

PANEL 2.

OVER HEAD-VIEW of KC and MX running down the street. The van

seen in the distance Heading towards a building with an open

garage in the distance.

PANEL 3.

OVER HEAD-VIEW of the city. See Silverstone’s car driving

towards an office building. See Cyn’s van driving towards the

same office building.



26


PANEL 1.

FRONT-VIEW of a garage door open.

PANEL 2.

FRONT-VIEW of a black van driving forwards. The Masq. Leader is

in the left passenger seat.

PANEL 3.

BACK-VIEW of the black van driving.

PANEL 4.

SIDE-VIEW of the black van driving into the garage.

PANEL 5.

FRONT-VIEW of the garage door close.

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LOST BOYS

THE JOURNEY



25

PAGE TWENTY THREE (three panels)

PANEL 1.

BACK-VIEW of KC and MX running down the street.

PANEL 2.

OVER HEAD-VIEW of KC and MX running down the street. The van

seen in the distance Heading towards a building with an open

garage in the distance.

PANEL 3.

OVER HEAD-VIEW of the city. See Silverstone’s car driving

towards an office building. See Cyn’s van driving towards the

same office building.



26


PANEL 1.

FRONT-VIEW of a garage door open.

PANEL 2.

FRONT-VIEW of a black van driving forwards. The Masq. Leader is

in the left passenger seat.

PANEL 3.

BACK-VIEW of the black van driving.

PANEL 4.

SIDE-VIEW of the black van driving into the garage.

PANEL 5.

FRONT-VIEW of the garage door close.

218



27


PANEL 1.

FRONT-VIEW of MX and KC running.

PANEL 2.

CLOSE-UP of MX shouting.

MX:

There!

PANEL 3.

BACK-VIEW of MX and KC approaching a garage door.

PANEL 4.

Left SIDE-VIEW of KC and MX standing in front of the garage

door.

PANEL 5.

BACK-VIEW of MX and KC standing outside of the garage door. The

door slowly opens.



28

PAGE TWENTY SIX (four panels)

PANEL 1.

WIDE-VIEW of the city.

PANEL 2.

CLOSE-UP of Tedd in the car.

TEDD:

No doubt he’s behind everything. Please tell me you didn’t know

anything about this?

PANEL 3.

CLOSE-UP of Cyn in the car.

CYN:

I’m maybe a lot of things Teddy, but I would never have let

Silverstone send them after Max.

PANEL 4.

FRONT-VIEW through the windscreen of Tedd and Cyn in the van.

TEDD:

Them?

CYN:

…

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LOST BOYS

THE JOURNEY



27


PANEL 1.


PANEL 2.

CLOSE-UP of MX shouting.

MX:

There!

PANEL 3.

BACK-VIEW of MX and KC approaching a garage door.

PANEL 4.

Left SIDE-VIEW of KC and MX standing in front of the garage

door.

PANEL 5.

BACK-VIEW of MX and KC standing outside of the garage door. The

door slowly opens.



28

PAGE TWENTY SIX (four panels)

PANEL 1.

WIDE-VIEW of the city.

PANEL 2.

CLOSE-UP of Tedd in the car.

TEDD:

No doubt he’s behind everything. Please tell me you didn’t know

anything about this?

PANEL 3.

CLOSE-UP of Cyn in the car.

CYN:

I’m maybe a lot of things Teddy, but I would never have let

Silverstone send them after Max.

PANEL 4.

FRONT-VIEW through the windscreen of Tedd and Cyn in the van.

TEDD:

Them?

CYN:

…

220



29

PAGE TWENTY SEVEN (three panels)

PANEL 1.

FLASHBACK

WIDE-VIEW of Silverstone standing in front of the Masqueraders,

Mrs. Silverstone, Mr. Matsumoto, a shadowed out Mr. Alexander,

Cyn and Jerome Sr.

CYN (OP):

…Silverstone…and his Masqueraders…

PANEL 2.

FLASHBACK

Cyn’s memory of the Masqueraders.

WIDE-VIEW of the Masqueraders.

CYN (OP):

Silverstone’s personal goons.

PANEL 3.

FLASHBACK


CYN (OP):

And their leader? He’s a special kind of crazy…a real piece of

work…

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29


PANEL 1.

FLASHBACK

WIDE-VIEW of Silverstone standing in front of the Masqueraders,

Mrs. Silverstone, Mr. Matsumoto, a shadowed out Mr. Alexander,

Cyn and Jerome Sr.

CYN (OP):

…Silverstone…and his Masqueraders…

PANEL 2.

FLASHBACK

Cyn’s memory of the Masqueraders.

WIDE-VIEW of the Masqueraders.

CYN (OP):

Silverstone’s personal goons.

PANEL 3.

FLASHBACK


CYN (OP):

And their leader? He’s a special kind of crazy…a real piece of

work…



30

PAGE TWENTY EIGHT (five panels)

PANEL 1.

FRONT-VIEW OF Logan sr. and Silverstone in the backseat.

PANEL 2.


PANEL 3.

FRONT-VIEW of Tedd and Cyn in the front seat.

PANEL 4.

WIDE-VIEW of the Masq. Leader standing in a very wide garage

storage warehouse with GT on the ground behind him. The garage

is dark, with light shining in as the garage door opens.

PANEL 5.


MASQ. LEADER:

Showtime.

THE END

222



“LOST BOYS”

SCRIPT (ISSUE #6)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

223223

LOST BOYS

THE JOURNEY



“LOST BOYS”

SCRIPT (ISSUE #6)

Written by

Tari Eguruze

18 Frere Street

Battersea

London

England

U.K

SW11 2JA

075 4080 5290

[email protected]

224



2


CREDITS PAGE

PANEL 1.

CLOSE-UP SIDE-VIEW of the Masq. Leader facing Left.

PANEL 2.

WIDE-VIEW SIDE-VIEW of the Masq. Leader standing opposite MX and

KC. MX and KC stand just in front of the closing garage door,

inside of the warehouse. The Masq. Leader stands further inside,

with GT on the floor, at his feet, behind him.

PANEL 3.

CLOSE-UP SIDE-VIEW of MX and KC facing right.

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2


CREDITS PAGE

PANEL 1.

CLOSE-UP SIDE-VIEW of the Masq. Leader facing Left.

PANEL 2.

WIDE-VIEW SIDE-VIEW of the Masq. Leader standing opposite MX and

KC. MX and KC stand just in front of the closing garage door,

inside of the warehouse. The Masq. Leader stands further inside,

with GT on the floor, at his feet, behind him.

PANEL 3.

CLOSE-UP SIDE-VIEW of MX and KC facing right.



3


PANEL 1.

BACK-VIEW of MX and KC. Spot the Masq. Leader ahead of them in

front of GT.

PANEL 2.

CLOSE-UP of MX’s hand tighten around the bat in his left hand.

It’s held backwards so the bat is facing behind him.

PANEL 3.

SIDE-VIEW of a blur of MX running left. KC is still standing.

PANEL 4.

BACK-VIEW of MX running, KC is running behind him.

226



4


PANEL 1.

FRONT-VIEW of MX running forwards, looking up, swinging the bat

in front his face.

PANEL 2.

FRONT-VIEW of the Masq. Leader raising his fists in a boxing

pose.

PANEL 3.

CLOSE-UP of the Masq. Leader punching downwards just below his

chest.

PANEL 5.

BACK-VIEW OF THE Masq. Leader punch MX’s bat as it swings in

front of him. KC is running up behind MX.

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4


PANEL 1.

FRONT-VIEW of MX running forwards, looking up, swinging the bat

in front his face.

PANEL 2.

FRONT-VIEW of the Masq. Leader raising his fists in a boxing

pose.

PANEL 3.

CLOSE-UP of the Masq. Leader punching downwards just below his

chest.

PANEL 5.

BACK-VIEW OF THE Masq. Leader punch MX’s bat as it swings in

front of him. KC is running up behind MX.



5


PANEL 1.

WIDE-VIEW of the warehouse exterior.

PANEL 2.


PANEL 3.

OVER HEAD-VIEW of Silverstone’s limousine park outside of an

office skyscraper. Spot a doorman opening the door for

Silverstone as he steps out of the car.

PANEL 4.

BACK-VIEW of Silverstone and Logan walk towards the building

entrance.

228



6


PANEL 1.

SIDE-VIEW of Silverstone and Logan walk through some doors into

the building.

PANEL 2.

Building foyer interior. Looks like a hotel reception area.

Silverstone’s POV of Daisuke Matsumoto sitting in a sofa chair,

surrounded two bodyguards either side.

PANEL 3.

CLOSE-UP of Silverstone sneering.

SILVERSTONE:

Daisuke.

PANEL 4.

CLOSE-UP of Matsumoto grip the armrests of the chair as he

stands. His upper body is out of frame.

MATSUMOTO:

Dominic.

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6


PANEL 1.

SIDE-VIEW of Silverstone and Logan walk through some doors into

the building.

PANEL 2.

Building foyer interior. Looks like a hotel reception area.

Silverstone’s POV of Daisuke Matsumoto sitting in a sofa chair,

surrounded two bodyguards either side.

PANEL 3.

CLOSE-UP of Silverstone sneering.

SILVERSTONE:

Daisuke.

PANEL 4.

CLOSE-UP of Matsumoto grip the armrests of the chair as he

stands. His upper body is out of frame.

MATSUMOTO:

Dominic.



7


PANEL 1.

BACK-VIEW of Matsumoto stand, his bodyguards standing behind him

at his sides. Matsumoto approaches Silverstone and Logan.

PANEL 2.

SIDE-VIEW of Matsumoto extend his hand towards Silverstone to

shake his hand.

PANEL 3.

CLOSE-UP of a hard faced Matsumoto.

MATSUMOTO:

Dominic. There is much history between us. Surely I have earned

a friendlier greeting by now?

PANEL 4.

CLOSE-UP of Silverstone’s hard face.

PANEL 5.

CLOSE-UP of Silverstone’s smirk.

230



8


PANEL 1.

WIDE-VIEW of Silverstone and Matsumoto in a handshake, semi-hug.

Logan stands beside Silverstone. Matsumoto’s guards stand behind

him.

SILVERSTONE:

Apologies, Daisuke. How are you, my friend?

MATSUMOTO:

I am very well.

PANEL 2.

FRONT-VIEW of Matsumoto slightly bow his head.

MATSUMOTO:

Logan.

PANEL 3.

FRONT-VIEW of Logan bow his head slightly to Matsumoto.

LOGAN:

Matsumoto-sama.

MATSUMOTO (OP):

How is your son? His studies are going well I would hope.

PANEL 4.

SIDE-VIEW of Logan standing opposite Matsumoto.

LOGAN:

Yes. Jerome is doing excellently. I am very proud.

MATSUMOTO:

That is good to hear. Now…

PANEL 5.

FRONT-VIEW of Matsumoto’s serious expression.

MATSUMOTO:

…Are you prepared, Dominic?

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8


PANEL 1.

WIDE-VIEW of Silverstone and Matsumoto in a handshake, semi-hug.

Logan stands beside Silverstone. Matsumoto’s guards stand behind

him.

SILVERSTONE:

Apologies, Daisuke. How are you, my friend?

MATSUMOTO:

I am very well.

PANEL 2.

FRONT-VIEW of Matsumoto slightly bow his head.

MATSUMOTO:

Logan.

PANEL 3.

FRONT-VIEW of Logan bow his head slightly to Matsumoto.

LOGAN:

Matsumoto-sama.

MATSUMOTO (OP):

How is your son? His studies are going well I would hope.

PANEL 4.

SIDE-VIEW of Logan standing opposite Matsumoto.

LOGAN:

Yes. Jerome is doing excellently. I am very proud.

MATSUMOTO:

That is good to hear. Now…

PANEL 5.

FRONT-VIEW of Matsumoto’s serious expression.

MATSUMOTO:

…Are you prepared, Dominic?



9

PAGE EIGHT (five panels)

PANEL 1.

FRONT-VIEW of Silverstone.

MATSUMOTO (OP):

For her.

PANEL 2.

CLOSE-UP of Silverstone.

SILVERSTONE:

I am. But the sooner we finish our business here, the better.

PANEL 3.

SIDE-VIEW of Silverstone and Logan standing opposite Matsumoto.

SILVERSTONE:

I have a few…unexpected matters to attend to.

PANEL 4.

BACK-WIDE-VIEW of Matsumoto, Silverstone and Logan and walk

towards the elevator doors.

MATSUMOTO:

Very well. Let us finish our business here and return to our

duties, before the city has a chance to fall back into disarray.

232



10

PAGE NINE (five panels)

PANEL 1.

SIDE-VIEW of MX stumble backwards.

PANEL 2.

CLOSE-UP of KC catching him.

PANEL 3.

FRONT-VIEW of MX leaning backwards against KC.

PANEL 4.

CLOSE-UP of MX and KC.

PANEL 5.

KC’s POV of the Masq. Leader standing in front of them, about to

“this is Sparta” kick them down.

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10

PAGE NINE (five panels)

PANEL 1.

SIDE-VIEW of MX stumble backwards.

PANEL 2.

CLOSE-UP of KC catching him.

PANEL 3.

FRONT-VIEW of MX leaning backwards against KC.

PANEL 4.

CLOSE-UP of MX and KC.

PANEL 5.

KC’s POV of the Masq. Leader standing in front of them, about to

“this is Sparta” kick them down.



11


PANEL 1.

BACK-VIEW of KC shove MX to the left,

PANEL 2.

CLOSE-UP of MX drop to the floor.

PANEL 3.


MX:

KC!

PANEL 4.

SIDE-VIEW of the Masq. Leader kicking KC. Shehas her arms upto

her chest blocking the kick.

PANEL 5.

FRONT-VIEW of KC straining to block.

234



12


PANEL 1.

FRONT-VIEW of the Masq. Leader switch legs to “flurry kick at

KC”.

PANEL 2.

SIDE-VIEW of the Masq. Leader jumping and kicking at KC as he

switches legs.

PANEL 3.

BACK-VIEW of the Masq. Leader as he kicks at KC.

PANEL 4.

FRONT-VIEW of MX standing up.

235235

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12


PANEL 1.

FRONT-VIEW of the Masq. Leader switch legs to “flurry kick at

KC”.

PANEL 2.

SIDE-VIEW of the Masq. Leader jumping and kicking at KC as he

switches legs.

PANEL 3.

BACK-VIEW of the Masq. Leader as he kicks at KC.

PANEL 4.

FRONT-VIEW of MX standing up.



13


PANEL 1.

MX’S POV OF THE Masq. Leader kicking KC to his right. GT is on

the ground to his left.

PANEL 2.

CLOSE-UP of GT.

PANEL 3.

CLOSE-UP of MX.

MX (whispers):

Just wait for me a little longer GT.

PANEL 4.

BACK-VIEW of MX run up behind the Masq. Leader.

236



14


PANEL 1.

CLOSE-UP SIDE-VIEW of the Masq. Leader turn to look over his

right shoulder at MX approach.

PANEL 2.

Masq. Leader’s POV watching MX charge towards him.

PANEL 3.

CLOSE-UP of KC grab the Masq. Leader’s ankle.

PANEL 4.

CLOSE-UP of the Masq. Leader dramatically whip his head around

to face KC.

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14


PANEL 1.

CLOSE-UP SIDE-VIEW of the Masq. Leader turn to look over his

right shoulder at MX approach.

PANEL 2.

Masq. Leader’s POV watching MX charge towards him.

PANEL 3.

CLOSE-UP of KC grab the Masq. Leader’s ankle.

PANEL 4.

CLOSE-UP of the Masq. Leader dramatically whip his head around

to face KC.



15


PANEL 1.

WIDE-VIEW of KC twist the Masq. Leader’s leg to the right,

resulting in him falling to the right. MX is seen leaping in the

air.

PANEL 2.

FRONT-VIEW of MX leap up swinging the bat down.

PANEL 3.

MX POV of the Masq. Leader trying to brace himself with an arm

and look up at MX. MX’s shadow is seen over him.

PANEL 4.

FRONT-VIEW of the Masq. Leader swing his legs around, and twist

his body “break-dance style”.

238



16


PANEL 1.

FRONT-VIEW of the Masq. Leader kick up in the air at MX. His

foot strikes MX in the chest.

PANEL 2.

CLOSE-UP of MX wince in pain.

PANEL 3.

CLOSE-UP of the Masq. Leader’s face.

PANEL 4.

CLOSE-UP of MX wrap around the leader’s leg.

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16


PANEL 1.

FRONT-VIEW of the Masq. Leader kick up in the air at MX. His

foot strikes MX in the chest.

PANEL 2.

CLOSE-UP of MX wince in pain.

PANEL 3.

CLOSE-UP of the Masq. Leader’s face.

PANEL 4.

CLOSE-UP of MX wrap around the leader’s leg.



17

PAGE SIXTEEN (three panels)

PANEL 1.

WIDE-VIEW of the Masq. Leader slam his leg down with MX. KC is

seen running behind the leader, scooping up the bat which has

dropped on the ground.

PANEL 2.

CLOSE-UP of KC grabbing the bat.

PANEL 3.

WIDE-VIEW of KC whack the leader across the face with the bat.

240



18

PAGE SEVENTEEN (three panels)

PANEL 1.

WIDE-VIEW of the mask flying through the air.

PANEL 2.

OVER HEAD-VIEW of the mask fall to the ground face-up.

PANEL 3.

CLOSE-UP of the cracked mask on the ground.

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18

PAGE SEVENTEEN (three panels)

PANEL 1.

WIDE-VIEW of the mask flying through the air.

PANEL 2.

OVER HEAD-VIEW of the mask fall to the ground face-up.

PANEL 3.

CLOSE-UP of the cracked mask on the ground.



19


PANEL 1.

FRONT-VIEW of large double doors of a conference room opened

slightly.

PANEL 2.

CLOSE-UP of the gap between the double doors.

MRS. SILVERSTONE (OP):

I’ve made my decision.

PANEL 3.

WIDE-VIEW of the conference room.

There is an oval shaped table.

Mrs. Silverstone sits in the centre.

Matsumoto is sitting on the left. Mikoto sits next to him.

Silverstone is sitting on the right. Logan sits beside him.

PANEL 4.

FRONT-VIEW CLOSE-UP of Mrs. Silverstone’s upper body.

MRS. SILVERSTONE:

Dominic is right. It’s been too long. We need to take action and

consolidate the city.

242



20


PANEL 1.

CLOSE-UP of Matsumoto’s hand’s slam on the table.

MATSUMOTO (OP):

NO!

PANEL 2.

SIDE-VIEW CLOSE-UP of Mrs. Silverstone look to her left

slightly, with a look on annoyance on her face.

MATSUMOTO (OP):

The phoenix is dead!

PANEL 3.

FRONT-VIEW CLOSE-UP of Silverstone look up at Matsumoto, with a

hint of annoyance.

MATSUMOTO (OP):

The southern district is ours for the taking!

PANEL 4.

FRONT-VIEW of Matsumoto stand as he begrudgingly addresses the

room. Mikoto sits and watches closely for any confrontation.

MATSUMOTO:

I will not be made to wait any longer. He who is the most fit to

lead should—

MRS. SILVERSTONE(OP):

He?

PANEL 5.

BACK-VIEW of Matsumoto with a view of Mr. and Mrs. Silverstone

ahead of him.

MRS. SILVERSTONE:

Sit down Daisuke.

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20


PANEL 1.

CLOSE-UP of Matsumoto’s hand’s slam on the table.

MATSUMOTO (OP):

NO!

PANEL 2.

SIDE-VIEW CLOSE-UP of Mrs. Silverstone look to her left

slightly, with a look on annoyance on her face.

MATSUMOTO (OP):

The phoenix is dead!

PANEL 3.

FRONT-VIEW CLOSE-UP of Silverstone look up at Matsumoto, with a

hint of annoyance.

MATSUMOTO (OP):

The southern district is ours for the taking!

PANEL 4.

FRONT-VIEW of Matsumoto stand as he begrudgingly addresses the

room. Mikoto sits and watches closely for any confrontation.

MATSUMOTO:

I will not be made to wait any longer. He who is the most fit to

lead should—

MRS. SILVERSTONE(OP):

He?

PANEL 5.

BACK-VIEW of Matsumoto with a view of Mr. and Mrs. Silverstone

ahead of him.

MRS. SILVERSTONE:

Sit down Daisuke.



21


PANEL 1.

Matsumoto’s POV of Mrs. Silverstone lecturing Matsumoto.

MRS. SILVERSTONE:

This isn’t a democracy. And either way, you sure as heck don’t

get a say in any of it.

PANEL 2.

FRONT-VIEW of Matsumoto sit down.


We divide the territory equally between the three of us.

PANEL 3.

FRONT-VIEW of Silverstone nodding slightly.


Dom?

SILVERSTONE:

Fine…but—

PANEL 4.

Silverstone’s POV of Mrs. Silverstone rolling her eyes and

gesturing towards him.

MRS. SILVERSTONE:

Yes, the children will get whatever they’re owed. But they are

not fit to take over from where he left off.

244



22


PANEL 1.

CLOSE-UP of Mrs’ Silverstone look towards Logan, gesturing

towards him.

MRS. SILVERSTONE:

I trust Logan can help look over any paperwork that needs to be

checked?

PANEL 2.

CLOSE-UP of Logan look up at Silverstone.

PANEL 3.

Logan’s SIDE-VIEW POV of Silverstone looking forwards. And nod

slightly.

PANEL 4.

FRONT-VIEW of Logan look forwards to Mrs. Silverstone and nod.

MRS. SILVERSTONE:

That’s right ma’am.

PANEL 5.

CLOSE-UP OF Mrs. Silverstone scowl slightly.

MRS. SILVERSTONE:

…Good.

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22


PANEL 1.

CLOSE-UP of Mrs’ Silverstone look towards Logan, gesturing

towards him.

MRS. SILVERSTONE:

I trust Logan can help look over any paperwork that needs to be

checked?

PANEL 2.

CLOSE-UP of Logan look up at Silverstone.

PANEL 3.

Logan’s SIDE-VIEW POV of Silverstone looking forwards. And nod

slightly.

PANEL 4.

FRONT-VIEW of Logan look forwards to Mrs. Silverstone and nod.

MRS. SILVERSTONE:

That’s right ma’am.

PANEL 5.

CLOSE-UP OF Mrs. Silverstone scowl slightly.

MRS. SILVERSTONE:

…Good.



23


PANEL 1.

WIDE-VIEW of the conference room. Mrs. Silverstone stands.

MRS. SILVERSTONE:

Then we’re adjourned.

PANEL 2.

BACK-VIEW of Matsumoto still seated. Mrs. Silverstone approaches

in his direction.

MRS. SILVERSTONE:

It’s always a pleasure, Daisuke.

PANEL 3.

FRONT-VIEW of Matsumoto seated. He looks like as if he is

seething with fury. Mrs. Silverstone walks past him and pats him

on the shoulder slightly.

MRS. SILVERSTONE:

See you in three months.

PANEL 4.

BACK-VIEW of Mrs’ Silverstone approach the doors about to leave.

246



24


PANEL 1.

SIDE-VIEW CLOSE-UP of Mrs. Silverstone push open the doors about

to walk through.

MRS. SILVERSTONE:

…Dom.

PANEL 2.

FRONT-VIEW of Silverstone and Logan standing.

SILVERSTONE:

…Wendy.

PANEL 3.

FRONT-VIEW of Daisuke stand as Mikoto whispers some information

to him.

PANEL 4.

CLOSE-UP of Matsumoto smirk.

PANEL 5.

Matsumoto’s POV of Silverstone and Logan walking out of the

room.

MATSUMOTO (OP):

Ah, Dominic!

247247

LOST BOYS

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24


PANEL 1.

SIDE-VIEW CLOSE-UP of Mrs. Silverstone push open the doors about

to walk through.

MRS. SILVERSTONE:

…Dom.

PANEL 2.

FRONT-VIEW of Silverstone and Logan standing.

SILVERSTONE:

…Wendy.

PANEL 3.

FRONT-VIEW of Daisuke stand as Mikoto whispers some information

to him.

PANEL 4.

CLOSE-UP of Matsumoto smirk.

PANEL 5.

Matsumoto’s POV of Silverstone and Logan walking out of the

room.

MATSUMOTO (OP):

Ah, Dominic!



25


PANEL 1.

Matsumoto’s POV of Silverstone and Logan walking towards the

exit of the room.

MATSUMOTO:

I hope your prior business hasn’t gotten away from you during

our meeting.

PANEL 2.

WIDE-VIEW OF Silverstone and Logan on the right near the exit,

watching Matsumoto and Mikoto approaching from the left.

SILVERSTONE:

Thank you, old friend. I’ll look into it now. Sorry I can’t stay

and catch up.

PANEL 3.

FRONT-VIEW of Matsumoto standing opposite Silverstone.

SILVERSTONE:

I’ll arrange something for next time.

MATSUMOTO:

I’ll look forward to it.

PANEL 4.

BACK WIDE-VIEW of Silverstone, Matsumoto, Logan, and Mikoto

leave the room through the double doors.

248



26


PANEL 1.


PANEL 2.

CLOSE-UP of the doors close.

PANEL 3.

Black panel.

PANEL 4.

BACK-VIEW of the Masq. Leader walking.

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26


PANEL 1.


PANEL 2.

CLOSE-UP of the doors close.

PANEL 3.

Black panel.

PANEL 4.

BACK-VIEW of the Masq. Leader walking.



27


PANEL 1.

BACK-VIEW of the Masq. Leader kneel down to pick up his mask.

PANEL 2.

Masq. Leader’s POV looking at the cracked mask on the ground as

he is about to pick it up.

PANEL 3.

FRONT-VIEW of the Masq. Leader kneeling with the mask in his

hand. The warehouse interior seen behind him.

PANEL 4.

CLOSE-UP of the Leader place the mask on his face.

PANEL 5.

CLOSE-UP of the mask fall to the ground where it was cracked.

250



28


PANEL 1.

SIDE-VIEW of the Leader stand, still holding half of the mask to

his face.

PANEL 2.

SIDE-VIEW of the Leader turn his head over his shoulder slightly

to look behind him.

PANEL 3.

CLOSE-UP of the Leader’s face, half covered by a cracked mask.

Only one bloodshot eye showing, and an equally menacing grin

beneath his mask half showing too. His face is bruised and

bloody.

MASQ. LEADER:

You fucking brats!

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28


PANEL 1.

SIDE-VIEW of the Leader stand, still holding half of the mask to

his face.

PANEL 2.

SIDE-VIEW of the Leader turn his head over his shoulder slightly

to look behind him.

PANEL 3.

CLOSE-UP of the Leader’s face, half covered by a cracked mask.

Only one bloodshot eye showing, and an equally menacing grin

beneath his mask half showing too. His face is bruised and

bloody.

MASQ. LEADER:

You fucking brats!



29


PANEL 1.

The Leader’s POV of MX, KC, and GT all on the floor, beaten,

bruised, and bloody.

PANEL 2.

BACK-VIEW of MX trying to lift his head and look up.

PANEL 3.

CLOSE-UP of MX’s bruised, and bloody face, with a huge grin and

blood between his teeth.

252



30

PAGE TWENTY NINE (five panels)

PANEL 1.

CLOSE-UP of the cracked mask being thrown before MX on the

ground.

MASQ. LEADER (OP):

Here…

PANEL 2.

BACK-VIEW of the Leader turn around and begin to walk away.

MASQ. LEADER:

A souvenir.

PANEL 3.

SIDE-VIEW of MX look at the Mask fragment ahead of him.

PANEL 4.

CLOSE-UP of MX try to stand.

PANEL 5.

BACK-VIEW of MX trying to stand. Spot the Masq. Leader in the

distance standing behind the warehouses ‘garage door’ as it

opens. Light is coming in as it opens up.

253253

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30

PAGE TWENTY NINE (five panels)

PANEL 1.

CLOSE-UP of the cracked mask being thrown before MX on the

ground.

MASQ. LEADER (OP):

Here…

PANEL 2.

BACK-VIEW of the Leader turn around and begin to walk away.

MASQ. LEADER:

A souvenir.

PANEL 3.

SIDE-VIEW of MX look at the Mask fragment ahead of him.

PANEL 4.

CLOSE-UP of MX try to stand.

PANEL 5.

BACK-VIEW of MX trying to stand. Spot the Masq. Leader in the

distance standing behind the warehouses ‘garage door’ as it

opens. Light is coming in as it opens up.



31

PAGE THIRTY (three panels)

PANEL 1.

BACK-VIEW of the Masq. Leader being bathed in light as the door

opens.

MASQ. LEADER:

Good luck with your friend.

PANEL 2.

CLOSE-UP BACK-VIEW of the Leader leave waving behind him.

MASQ. LEADER:

I’ll see you again…

PANEL 3.

OVERHEAD-VIEW of the warehouse interior. MX kneels over GT. KC

is starting to stand.

MASQ. LEADER (OP):

Real soon…

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32

PAGE THIRTY ONE (three panels)

PANEL 1.

CLOSE-UP of GT’s face as MX kneels over him.

MX:

GT! GT! Are you alright? We’re here! It’s Max!

PANEL 2.

FRONT-VIEW of MX and KC kneel over GT.

KC:

We’re safe now. We’ll get you out of here.

PANEL 3.

CLOSE-UP of GT’s smiling face with his eyes still closed.

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PAGE THIRTY ONE (three panels)

PANEL 1.

CLOSE-UP of GT’s face as MX kneels over him.

MX:

GT! GT! Are you alright? We’re here! It’s Max!

PANEL 2.

FRONT-VIEW of MX and KC kneel over GT.

KC:

We’re safe now. We’ll get you out of here.

PANEL 3.

CLOSE-UP of GT’s smiling face with his eyes still closed.



33

PAGE THIRTY TWO (four panels)

PANEL 1.

SIDE-VIEW of JR sit at his work desk, typing. A window is beside

him.

PANEL 2.

FRONT-VIEW of JR look out of the window.

PANEL 3.

FRONT-VIEW of JR’s window. See him looking through it.

PANEL 4.

JR’s POV of his city district, the bridge, and the slope in the

distance.

LOGAN (OP):

Junior?

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34

PAGE THIRTY THREE (four panels)

PANEL 1.

WIDE-VIEW of JR hugging his dad.

JR:

Dad!

PANEL 2.

FRONT-VIEW of JR’s mother standing in the doorway smiling.

PANEL 3.

BACK-VIEW of JR’s mother walk into the room with JR and Logan.

PANEL 4.

CLOSE-UP of JR’s face as he hugs his parents.

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PAGE THIRTY THREE (four panels)

PANEL 1.

WIDE-VIEW of JR hugging his dad.

JR:

Dad!

PANEL 2.

FRONT-VIEW of JR’s mother standing in the doorway smiling.

PANEL 3.

BACK-VIEW of JR’s mother walk into the room with JR and Logan.

PANEL 4.

CLOSE-UP of JR’s face as he hugs his parents.



35

PAGE THIRTY FOUR (five panels)

PANEL 1.

EXTERIOR of the local hospital in the Harbour City.

PANEL 2.

WIDE-VIEW of the hospital INTERIOR. The children’s ward. MX, KC,

and GT are all in hospital beds. KC family is around her bed.

GT’s mother is crying over GT’s bed. MX is alone.

PANEL 3.

FRONT-VIEW of MX in bed.

PANEL 4.

CLOSE-UP of MX get out of bed.

PANEL 5.

CLOSE-UP of MX’s lower body jump on the floor beside his bed,

dressed only in a hospital gown. He is bandaged up slightly.

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36

PAGE THIRTY FIVE (four panels)

PANEL 1.

BACK-VIEW of MX run upto the end of GT’s bed.

PANEL 2.

SIDE-VIEW of KC turn to look at GT and MX.

PANEL 3.

FRONT-VIEW of GT and MX smiling.

PANEL 4.

CLOSE-UP of Tedd run into the room walk in through the hospital

doors.

TEDD:

Max!?

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PAGE THIRTY FIVE (four panels)

PANEL 1.

BACK-VIEW of MX run upto the end of GT’s bed.

PANEL 2.

SIDE-VIEW of KC turn to look at GT and MX.

PANEL 3.

FRONT-VIEW of GT and MX smiling.

PANEL 4.

CLOSE-UP of Tedd run into the room walk in through the hospital

doors.

TEDD:

Max!?



37

PAGE THIRTY SIX (three panels)

PANEL 1.

FRONT-VIEW of MX turn to watch Tedd run in.

TEDD:

Max!?

PANEL 2.

SIDE-VIEW of Tedd stop and look around.

MX:

Teddy…

PANEL 3.

BACK-VIEW of Tedd run to hug MX.

TEDD:

Max! Max, are you alright?

PANEL 4.

SIDE-VIEW of MX hugging Tedd. MX has a wide smile on his face.

TEDD:

Look at you? Are you alright?

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PAGE THIRTY SEVEN (five panels)

PANEL 1.

CLOSE-UP BACK-VIEW OF Cyn walk through the doors watching MX and

Tedd.

MX:

I’m fine…

PANEL 2.

CLOSE-UP of MX notice Cyn walk in. The happy expression on his

face disappears.

PANEL 3.

WIDE-VIEW of Cyn stand opposite Tedd and MX.

CYN:

I just came to drop him off.

PANEL 4.

FRONT-VIEW on Cyn looking down with a slightly worried

expression.

CYN:

You’re okay now, right?

PANEL 5.

Cynthia’s POV looking down at MX as he nods.

CYN (OP):

Good…

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PAGE THIRTY SEVEN (five panels)

PANEL 1.

CLOSE-UP BACK-VIEW OF Cyn walk through the doors watching MX and

Tedd.

MX:

I’m fine…

PANEL 2.

CLOSE-UP of MX notice Cyn walk in. The happy expression on his

face disappears.

PANEL 3.

WIDE-VIEW of Cyn stand opposite Tedd and MX.

CYN:

I just came to drop him off.

PANEL 4.

FRONT-VIEW on Cyn looking down with a slightly worried

expression.

CYN:

You’re okay now, right?

PANEL 5.

Cynthia’s POV looking down at MX as he nods.

CYN (OP):

Good…



39

PAGE THIRTY EIGHT (six panels)

PANEL 1.

FRONT-VIEW of Tedd standing behind MX.

PANEL 2.

FLASHBACK.

Silverstone’s Office INTERIOR.

BACK-VIEW of Cyn and Tedd stand opposite Silverstone’s desk.

TEDD:

A deal?

SILVERSTONE:

That’s right.

PANEL 3.

FLASHBACK.

CLOSE-UP of Silverstone sitting at his desk.

SILVERSTONE:

I’m doing you a favour, kid. Take it or leave it.

PANEL 4.

FLASHBACK.

SIDE-VIEW of Cyn standing opposite Tedd.

SILVERSTONE (OP):

Talk some sense into him, will’ya Cyn?

PANEL 5.

FLASHBACK.

FRONT-VIEW of Tedd.

SILVERSTONE (OP):

I’m just looking out for you kids. For his sake.

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40

PAGE THIRTY NINE (six panels)

PANEL 1.

WIDE-VIEW of Matsumoto’s office INTERIOR.

Matsumoto stands on a balcony just outside of his office window.

SILVERSTONE (OP):

“It’s what he would’ve wanted for you.”

PANEL 2.

Mikoto’s POV of Matsumoto from behind.

MIKOTO:

Matsumoto-sama.

PANEL 3.

FRONT-VIEW of Matsumoto turning to face behind him, spot Mikoto

behind him.

MATSUMOTO:

Mikoto?

PANEL 4.

SIDE-VIEW of Mikoto facing Matsumoto. She hands a Masq. Leader’s

mask fragment to Matsumoto.

PANEL 5.

Matsumoto’s POV of the Mask fragment in hand.

PANEL 6.

BACK-VIEW of Matsumoto turn and throw the fragment over the

balcony side.

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PAGE THIRTY NINE (six panels)

PANEL 1.

WIDE-VIEW of Matsumoto’s office INTERIOR.

Matsumoto stands on a balcony just outside of his office window.

SILVERSTONE (OP):

“It’s what he would’ve wanted for you.”

PANEL 2.

Mikoto’s POV of Matsumoto from behind.

MIKOTO:

Matsumoto-sama.

PANEL 3.

FRONT-VIEW of Matsumoto turning to face behind him, spot Mikoto

behind him.

MATSUMOTO:

Mikoto?

PANEL 4.

SIDE-VIEW of Mikoto facing Matsumoto. She hands a Masq. Leader’s

mask fragment to Matsumoto.

PANEL 5.

Matsumoto’s POV of the Mask fragment in hand.

PANEL 6.

BACK-VIEW of Matsumoto turn and throw the fragment over the

balcony side.



41

PAGE FORTY (nine panels)

PANEL 1.

WIDE-VIEW of Matsumoto with a maniacal grin on his face as he

stands with his arms out, just having thrown the mask fragment

over the balcony ledge.

MATSUMOTO:

This is MY city! My empire! My legacy!

PANEL 2.

CLOSE-UP of Silverstone’s face. A contemplative expression.

SILVERSTONE (THOUGHT):

“This is my kingdom. My prison.”

PANEL 3.

CLOSE-UP of Mrs. Silverstone’s face. A mischievous slight grin

on her lips.

MRS. SILVERSTONE (THOUGHT):

“This is my time to set things right.”

PANEL 4.

CLOSE-UP of Tedd’s face. Eyes shut, with a relived smile.

TEDD (THOUGHT):

“This is my chance to get him out of here.”

PANEL 5.

CLOSE-UP of Cyn’s face. With a slightly ashamed look of regret.

CYN (THOUGHT):

“This is how I’ll make it up to him.”

264



42

(continued)

PANEL 6.

CLOSE-UP of JR’s face. A relieved smile is on his face.

JR (THOUGHT):

“This is my way out.”

PANEL 7.

CLOSE-UP of KC’s face.

KC (THOUGHT):

“This is where my family are. My home.”

PANEL 8.

CLOSE-UP of GT’s face. Eyes squinted shut, with a wide smile.

GT (THOUGHT):

“This is how I we helped each other.”

PANEL 9.

CLOSE-UP of MX’s face. Eyes shut, with his wide signature smile.

MX (THOUGHT):

“This is…”

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42

(continued)

PANEL 6.

CLOSE-UP of JR’s face. A relieved smile is on his face.

JR (THOUGHT):

“This is my way out.”

PANEL 7.

CLOSE-UP of KC’s face.

KC (THOUGHT):

“This is where my family are. My home.”

PANEL 8.

CLOSE-UP of GT’s face. Eyes squinted shut, with a wide smile.

GT (THOUGHT):

“This is how I we helped each other.”

PANEL 9.

CLOSE-UP of MX’s face. Eyes shut, with his wide signature smile.

MX (THOUGHT):

“This is…”



43

PAGE FORTY ONE & FORTY TWO (eight panels)

PANEL 1.

J.M. Barrie School INTERIOR.

CLOSE-UP of MX’s feet walk down the hall.

MX (THOUGHT):

“…OUR city.”

PANEL 2.

CLOSE-UP of MX’s back as he walks down the hall.

MX (THOUGHT):

“The Slope—

MX (THOUGHT):

—Home.”

PANEL 3.

CLOSE-UP SIDE-VIEW of MX as he walks down the hall.

MX (THOUGHT):


one.”

PANEL 4.

CLOSE-UP of MX’s feet walk down the hall.

MX (THOUGHT):

“To survive in this city, you need to know who your family are.”

PANEL 5.

Classroom INTERIOR.

WIDE-SIDE-VIEW of JR’s class.

MX (THOUGHT):

“You need to be able to look out for your friends, as they would

for you.”

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44

(continued)

PANEL 6.

BACK-VIEW of MX enter the classroom.

MX (THOUGHT):

“You won’t survive alone.”

PANEL 7.

CLOSE-UP of JR looking up in shock.

JR:

Ma—

MX (THOUGHT):

“Sometimes...that just means you need to fight tooth and nail—

PANEL 8.

FRONT-VIEW of MX standing in the J.M. Barrie school uniform.

With his wide signature smile.

MX (THOUGHT):

—and remind them exactly who their friends are.”

MX:

Mornin’ Jerome!

THE END

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44

(continued)

PANEL 6.

BACK-VIEW of MX enter the classroom.

MX (THOUGHT):

“You won’t survive alone.”

PANEL 7.

CLOSE-UP of JR looking up in shock.

JR:

Ma—

MX (THOUGHT):

“Sometimes...that just means you need to fight tooth and nail—

PANEL 8.

FRONT-VIEW of MX standing in the J.M. Barrie school uniform.

With his wide signature smile.

MX (THOUGHT):

—and remind them exactly who their friends are.”

MX:

Mornin’ Jerome!

THE END

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Date post:	30-Mar-2016
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