(EDITED TO ADD STEP 2; sorry david i’m dumb and decaffinated)
From HAWKGUY 9:
The first half of this issue was written for Pulido, for some reason that escapes me now, but he didn’t end up drawing it, for other reasons that also escape me now, so it was written as a full script (meaning: suggestions of panels and dialogue presented at once) rather than the usual plot style that I write for David (meaning: more of a narrative suggesting the dramatic beats of the page but leaving panels and page design wholly to the artist — i’ve posted some of that stuff before, dig around, you can find it, i believe in you). I believe halfway through it changes to plot style (but these are pages 3 and 4).
Also i clearly wasn’t sure if MH was to be coloring or not, as I was really steering into the coloring notes.
At some point “Phyllis” became ‘Penelope.’ Still “Phyllis” here, though.
The final version had Nat saying “Da,” which came from Wacker, and was, as you can see, way better.
PAGE THREE - FRIDAY 8:30 PM
BLACK PANEL WITH TEXT:
The Work Wife.
SOMEWHERE IN THE MANSION full of TECH: AN ARRAY OF TRANSLUCENT AND CURVED COMPUTER MONITORS illuminates NAT as she works with intense, ex-KGB levels, of concentration. ONE SCREEN is CHERRY’S MUG SHOT.
NAT Nice to MEET YOU…
GRAND CENTRAL STATION: CHERRY walks through a black and grey crowd dressed in screaming RED in a long red cloak-coat and a big floppy hat, the BRIM covering one of her eyes. Even though it’s night she wears SUNGLASSES; she’s got a small black bag with her, A HANDBAG maybe. A PORTER hands her a TRAIN TICKET.
CAP (NAT, OP) “…Darlene Phyllis Wright.”
PORTER Here you are, Ms. Wright.
MOMENTS LATER. We watch as the grey and black crowd of commuters hustles past the clock centerpiece of Grand Central; the bright red of CHERRY popping, as it were, against them as she heads towards a sign that points, saying LOWER PLATFORMS. The TIME reads 8:48.
There is ONE OTHER MOMENT OF RED here — NATASHA’S HAIR. SHE stands in the direction that CHERRY heads towards, unseen.
CAP (PORTER, OP) “Train leaves at NINE from track 26.”
NATASHA stares AT US, arms folded across her chest, not taking any shit from anyone.
CHERRY moves through the crowd, head down, hoping not to be noticed.
CHERRY looks UP AT US now — alarmed.
CHERRY oh no.
BACK TO NATASHA who RUNS AT US.
NAT Oh yeah.
ON THE WHOLE OF THE STATION as CHERRY turns and runs, NATASHA right behind her. Neither woman slows down for pedestrian traffic; PEOPLE fall ass over teakettle, shoved and pushed willy-nilly as the chase breaks out.
NAT STOP THAT GIRL!
CHERRY whips her BAG at a CIVILIAN’S FACE, knocking him back into a LUGGAGE CART which sends the luggage spilling — a barricade, however small, between CHERRY and NATASHA. NATASHA keeps running.
CHERRY heads down the stairs leading to the lower platforms as NATASHA reaches down to grab the HANDBAG as she runs.
CHERRY runs onto the lower platform wildly, shoving people out of her way. BEHIND HER NATASHA comes leaping after her.
CHERRY runs through lines of PASSENGERS trying to get on the trains as NAT follows like a wild woman. CHERRY is heading towards the HEAD of one of the trains — she’s going to leap down onto the tracks and run into the tunnels.
CHERRY LEAPS off the passenger platform. PEOPLE watch — angry she’s knocked ‘em over, scared she’s going to get hurt — everybody seems to have a reaction. NATASHA coming after her like a wraith.