DC Scripts From Our Writing Contests

[npascual]

So, this is kind of a tribute to a lot of the best Batman/Joker stories I've read.


Whatever Happened to the Clown Prince of Crime?


Page 1
Panel 1
We are in a hospital delivery room where we see a female doctor and two nurses helping a mother deliver a baby. We seem to be in the endgame already and the baby is just moments away from being born. We are seeing the scene from the pov of the mother who has her legs up in the gurney.

DOCTOR
Okay, you're doing great honey, just one more. . . Push!



Panel 2
Closeup of the female doctor's face, the only part of her face that we see are her eyes as she still has a surgical mask on. We see a look of shock in her eyes.

SFX
Waaaahhh!!! Waaaaahhhh!!! Waaaaahhhh!!!

DOCTOR
There. Your beautiful healthy baby girl is- -

DOCTOR
OH MY GOD!!!!



Panel 3
A look at the baby from the POV of the doctor. The baby has her face painted like a clown, specifically, like the Joker. Creepy vibe and if you can also show the baby girl's eyes looking directly at the doctor/reader (even though the baby doesn't have eyesight yet) to increase the creepiness of the image. Since this is from the pov of the doctor, the image of the baby and the doc's hands are covering up most of the mother's image.

At the sides of the panel, we also partly see the two nurses who are not quite sure what's happening. Questioning/puzzled looks in their faces.



Panel 4
In a dark room, we see a TV in the middle of the panel. It's one of those old black and white TVs from the 50s or 60s which still used dials to change the stations. At the foreground, we partly see the person who is watching TV. He's sitting on a sofa with his feet propped up on a stool. This is The Joker, wearing his usual getup, but we don't see much of him yet.

The TV is showing the news where the anchorman is discussing the day's events.

CAPTION TV NEWS ANCHORMAN(ELECTRONIC)
- - reported in fourteen different hospitals. Initial reports indicate neither the newborn babies nor their mothers are in any current medical danger.

CAPTION TV NEWS ANCHORMAN(ELECTRONIC)
Authorities are still awaiting more extensive laboratory results, but an expert has posited non-toxic face paint as the most likely agent involved.

CAPTION TV NEWS ANCHORMAN(ELECTRONIC)
Up next: exclusive footage of one of the babies before the face paint had been removed. We warn you, the video you are about to see may be very disturbing to younger audiences. Some of you might want to turn away from- -



Panel 5
Closeup on TV screen. We see one of the babies being held by one of the doctors, mediamen are everywhere taking footage and pictures. The baby, though, is heavily digitally-blurred.

Caption (ELECTRONIC)
Oh. I'm sorry, but according to our legal advisors, we are unable to show the baby's face on TV. But these innocent children's faces were indeed painted just like clowns!

Joker (off panel)
Heh.

Bottom Caption (ELECTRONIC)
Authorities are still baffled about how this might have been accomplished.



Panel 6
Over the shoulder view of The Joker. Background has TV which he's turned off with a remote control he has in his gloved right hand (And yes, I know those old 60s black and whites typically didn't use remote controls).

JOKER
Eight months of planning my best work and now that it's done... still no sign of old Bats. Why is that?




Page 2
Panel 1
We see Harley Quinn who has just entered the room, she had turned on the lights and now she's heading for the Joker. In her hands she has a tray with some milk and cookies for the Joker. (Just some added info, the light switch is elbow-height. Timeframe in panel may be just after she turned on the lights with an elbow.)

Now that the lights are on, we see the rest of the room. Just a family of three, (a mom, a dad and a little boy) all tied up at the background. We see the Dad has a grenade in his mouth. We are in The Joker's hideout, so we also see some of Joker's weapons and devices on the walls.

Harley Quinn
I dunno, Mr. J. Maybe Batman doesn't realize you were involved with putting all those happy smiles on those babies?

Joker
No.

Harley
Maybe Batman hates babies?

Joker
No. Wait. . . yes? No.

Harley
Maybe. . . maybe. . . I know I can come up with another one. . . Oh, I have it, Mr. J.!



Panel 2
Closeup of Harley, she looks to be pleased with herself, all smiles.

Harley
Maybe Batman's dead!



Panel 3
The Joker stands up and knocks the tray from Harley's hands, causing the glass of milk and cookies to fall to the floor, to the shock of the captive family and Harley.

Joker
BATMAN'S NOT DEAD!!! He CAN'T be dead! I'M the only one who can kill him!



Panel 4
Closeup on Harley who's on the floor, empty tray by her side. She looks like she's about to cry.

Harley
Mr J.!



Panel 5
Closeup of the Joker who still looks mad.



Panel 6
Joker a bit more calm.

Joker
Oh, come on now, Harleykins! We both know you brought that tray of delicious milk and cookies here so I could do exactly what I did. Or possibly a spit-take.



Panel 7
Joker pushing Harley out the door, Harley reluctant.

Joker
Now run along. Daddy needs time to think about the next phase of his plans.

Harley
But! But!




Page 3
Panel 1
Joker sitting on the sofa once more, his left hand is down on the ground reaching for another cookie. He's eating some of the cookies on the floor.

SFX
Crunch

Joker
Grumble. . . grumble. . . Can you believe that, Senator? She says Batman's dead. Hah!



Panel 2
The Joker entering a Bathroom in his hideout, he looks tired. His facial expression a bit sad.



Panel 3
Joker looks at the mirror in the Bathroom, he's all smiles.

Joker
Pretty funny thing, that. Batman. Dead? Just because nobody's seen him in 2 years. Ha ha. Ha ha ha.

Joker
So, How about you, Jack? Do you know the answer? About whatever the f*ck happened to that Caped Crusader?



Panel 4
The Joker looking at the mirror closely.



Panel 5
Extreme closeup, Joker's eye.



Panel 6 (big panel)
Back in the room where the Senator and his family are, we see that the Senator and his family now have their restraints removed. The Joker is in front of them, with a switchblade in one hand.

The Joker
Run.



Page 4
Panel 1
Harley rushing to the room, looking concerned. Over her shoulder she has a wacky boxing glove-based bazooka, which she seems to have just recently employed.

Harley
Oh, Mr J! They got away, I'm sorry, I thought I tied them up--



Panel 2
Harley looking at the ropes which were cleanly cut. The Joker still has the switchblade in hand.

Harley
Wait? You let them go? Oh, I get it, you placed remote-controlled explosives inside them?

Joker
No.

Harley
Arse eels?

Joker
No.

Harley
Maybe. . . okay, comedy rule of threes. . . remote explosives, arse eels, what else?

Joker
Nygma once told me, it's the Batman. He exists and all these criminal elements are suddenly in Gotham. Me, him, all these other ruffians. The Bat attracts lunacy. But what happens now if he's really dead?



Panel 3
We see a very Confused Harley.

Harley
You're scaring me, Mr. J. Why are you talking like that? All normal?

Joker
It's actually a relief. We were locked onto a suicide course. He would have killed me; or I would have killed him. It was all just a matter of time.



Panel 4
Closeup of the Joker. His skin seems to have subtly lost its paleness and his smile now seems no longer so clownish and red. He looks almost normal.



Panel 5
We look at Harley, still motionless. But she's had the realization already:

Harley
You're sane.

The Joker (off panel)
I am myself.



Panel 6
Harley smiling.

Harley
Oh, remember? You warned me about this. You said this might happen. And so, you told me about a plan you created, a post-hypnotic suggestion and its trigger word.



Panel 7
Joker, now for some unexplained reason, looks much less like the clown and just a normal scared man in his late 40s. His eyes are wide with his own new realization.

Joker
No, please. Harleen, don't say it. Please! Not now!



Panel 8
Harley Quinn whispering something to the Joker's ear.

Harley
Zurr-en-Arrghh


Page 5
Panel 1
On a rooftop, we see The Joker of Zurr-en-Arrggh and Harley Quinn of Zurr-en-Arrggh striking a dynamic pose. Essentially, their costumes are almost the same as their normal costumes but a bit gaudier, more colorful. The Joker has a flashlight with him.

Harley Quinn is lovingly looking at the Joker, some cartoonish hearts are floating all around her.

Joker of Zurr-en-Arrggh
Now, Harley Quinn of Zurr-en-Arrggh, let me just turn on this flashlight so we can walk along the beam safely to the next rooftop! But you go first.

Harley Quinn of Zurr-en-Arrghh
Whatever you say, Mr. J. of Zurr-en-Arrggh.

[Red Fox]

So, this is my take on Gordon and Deadshot. It was fun taking on some established characters and it looks like everyone else did too.

Veterans

PAGE 1: 5 PANELS

Panel 1: Wide, high angle shot of a weathered, rusted rail yard. Heavy freight trains weave throughout the arteries of tracks. In the distance we see the jagged structures of Gotham etched out in the night sky. The rail yard is cluttered with rusted, graffiti-covered freight cars and cargo containers. Gnarled, weathered equipment and cranes litter the yard. It’s a graveyard of rust and iron. In the center of the rail yard we see a plain sedan and an SUV facing each other. The doors are open on each vehicle. There is no evidence of anyone nearby.

No Copy


Panel 2: Angle on the plain sedan. Three very neat bullet holes are in the windshield, two lined up with the driver and passenger seats. The third directly in the middle. We can see the silhouette of bodies inside.

No Copy


Panel 3: Angle inside the sedan. Two bodies are slumped in the front seat. Blood spatter is on the ceiling of the interior, some on the seat. We can get an even better view of the three bullet holes from the inside. Perfectly aligned.

No Copy


Panel 4: Angle looking through the backseat passenger door. It’s open and a trail of blood and disturbed gravel leads to a rusted stack of freight containers.

No Copy


Panel 5: Angle on Jim Gordon, slumped up against the wall of one of the dirty containers. He has removed his trench coat and is in the process of fixing a tourniquet with his belt around his wounded left arm. He grits his teeth as he tightens it to the next belt notch.

Gordon: Hrk.

Caption(Gordon): In and out. No bone. I’m more than a little lucky.

Caption(Gordon): Nothing I can do about Dobbs and Farley, though. Nothing but get myself killed too.

Caption(Gordon): It’s been quiet for a bit. Don’t know how many of Tre’s crew are left.


PAGE 2: 5 PANELS


Panel 1: Angle on the bleeding Gordon as he whips toward us, .38 Revolver aimed and ready. Something has caught his attention.

SFX: Clank


Panel 2: Angle over Gordon’s shoulder on a large man armed with an assault rifle as he slams himself up against a freight car. He’s in a panic and he’s aiming at Gordon.

Tre: I ain’t gonna shoot if you ain’t.

Gordon: Sounds good to me, Tre.

Tre: A set up. This is messed up, man. Messed up!

Gordon: Keep it down. You’ll give us away.

Tre: Give us away? Man, we done!


Panel 3: Angle on Tre as a single bullet slams through his head.

Tre: There’s a snipe-

SFX: FUP


Panel 4: Angle on Gordon as he scrambles for better cover. The shot having startled the hell out of him.

Caption(Gordon): God damn. I didn’t hear it. Back in Nam they always said listen for the shot. Christ, I’m too old.


PAGE 3: 6 PANELS

Panel 1: Wide angle shot of a series of cargo cranes and catwalks.

No Copy


Panel 2: Angle on Deadshot, expertly placed between a mess of scrap iron and crates. His long range rifle is ready, his finger taking the slack from the trigger.

Caption(Deadshot): There were six, if I’m not mistaken. One more.


Panel 3: Angle through Deadshot’s scope at a freight car. The clear image of man’s body is beginning to peer out from the side of the car, perfectly exposed.

Caption(Deadshot): And there you are. Good night.


Panel 4: Angle behind the container on the body of Tre as the bullet strikes his torso. We can see the hand of Gordon propping him up.

SFX: Fup


Panel 5: Angle through the scope as Tre’s body falls into view.

No Copy


Panel 6: Angle on Gordon pressed up against the container looking in the direction of the shot.

Caption(Gordon): Got ya.


PAGE 4: 5 PANELS


Panel 1: Angle on Deadshot as he pops up from his scope in shock of the mistake he just made.

Caption(Deadshot): Shit.


Panel 2: Angle on Gordon as he climbs a freight ladder attached to a series of catwalks.


Caption(Gordon): He’s gonna move. The good ones always move after a shot. This guy’s no amateur.

Caption(Gordon): I can cut him off.


Panel 3: Angle on Deadshot as he sprints across the catwalk, rifle in hand.

Caption(Deadshot): Hm. Fell for the trap. Not like me.

Caption(Deadshot): Getting old.


Panel 4: Angle on Gordon, revolver raised, as he makes his way across the catwalk.

Caption(Gordon): He was here. I can smell the cordite.

Caption(Gordon): He’s not far.


Panel 5: Angle on Deadshot hiding in shadow around the corner of one section of catwalk.

Caption(Deadshot): He’s close. I can feel his weight on the catwalk.

Caption(Deadshot): He’s a clumsy one.


PAGE 5: 5 PANELS


Panel 1: Angle on the back of Gordon’s head as Deadshot’s wrist gun is aimed right at it, point blank.

Deadshot: Bang.


Panel 2: Angle on Gordon and Deadshot. Gordon has spun around, his revolver leveled. The two are in an old fashioned standoff, each aiming their gun, ready to fire.

Gordon: Drop the weapon.

Gordon: DROP THE WEAPON!

Deadshot: James Gordon? Been a long time, almost didn’t recognize you.

Gordon: So we know each other?


Panel 3: Angle on Deadshot and Gordon, still locked in the standoff.

Deadshot: I never forget a man I served with.

Gordon: What?


Panel 4: Angle on Deadshot as he simultaneously disarms Gordon and delivers a devastating palm heel strike to his chin.

SFX: THAK


Panel 5: Wide angle shot as Deadshot walks down the catwalk. An unconscious Gordon lies motionless in a heap.

Deadshot: I apologize for the misunderstanding, comrade. Ice the jaw.

Deadshot: My condolences to your fellow officers.

-END-

[Trama]

PAGE ONE

PANEL ONE: GOTHAM AT NIGHT, in all of its glory. It’s a big frame, not a splash, but should take up a good half of the page. We’re looking down on the busy streets below. It’s not a bird’s eye, but as if we’re perched on a building and looking down.

CAPTION (GORDON): How reliable is your source, Bullock?

CAPTION (BULLOCK): Solid as they come, Commish. He wants to cut the deal, and said he’s the guy who made the deal happen. The truth of it is, I can’t believe The Bat hasn’t brought this to your attention yet.

CAPTION (GORDON): Well, the truth of it is, I’m not even sure he’s the same person anymore. But that’s a problem for another day. How certain are you that Lawton took this bait?

PANEL TWO: Closer now. As if we zoomed in from the tops of the buildings. We’re focused on a police cruiser flying through traffic. It’s swerving around a taxi cab, getting the attention of everyone on the street. No siren.

CAPTION (BULLOCK): The better question is how bad is it going to be if Lawton goes through with it? I see streets of blood, and this time it ain’t because of an earthquake.

CAPTION (GORDON): Then hit the signal. Show him what you showed me. And send some units over to Gotham General.

CAPTION (BULLOCK): Where are you going?

PANEL THREE: Medium frame. In front of the police cruiser now. Gordon is driving alone, extremely focused, both hands on the wheel. Maybe some lines around the car to show that he’s speeding.

CAPTION (GORDON): To stop a war.

PAGE 2

PANEL ONE: A P.O.V. shot looking through a sniper scope, complete with crosshairs. In the crosshairs is a simple window – the drapes are pulled. A small, simple potted plant sits in the window.

PANEL TWO: Small frame. Tight on the man looking into the crosshairs: Mr. Floyd Lawton, Deadshot. We see the scope and Deadshot’s mask behind it. He’s lining up his shot.

PANEL THREE: Big frame. Deadshot is in the foreground, closest to us. He’s laying on his stomach, sniper-style. The gun he’s using is big. Something like a mag fed 20 MM. He’s aiming down at a patient’s room at Gotham General Hospital. There should be a GOTHAM GENERAL florescent sign above the row of patient room windows. Beneath that, a smaller florescent sign reading EMERGENCY ROOM with an arrow pointing right. The streets should be vacant. All of the patient rooms have the curtains drawn. Some are lit, some are dark.

PANEL FOUR: On the street now, Gordon’s police cruiser SCREECHING to a stop. In the background, across the street, we should have a ground-level view of the same section of the hospital that Deadshot was taking aim at, just give the reader a sense of location.

PANEL FIVE: Gordon is out of the car, looking up at the Deadshot’s position. Our view should be from behind Gordon, his back to us. He’s wearing his trench coat. We can see a tiny Deadshot on top of the building, the barrel of 20 MM pointing out.

CAPTION (GORDON): Once you knew the room number, it wasn’t difficult to know where Lawton would be. He’s a distance guy.

PAGE THREE

PANEL ONE: Looking down on Gordon climbing up a ladder that’s attached to the side of a building.

PANEL TWO: Tight on Deadshot. He’s still lying on his stomach next to the 20MM, but looking directly at us.

SFX: Clang…clang…

PANEL THREE: Wide shot. Gordon has reached the roof. He hangs onto the ladder. Deadshot has met him there, his wrist guns aimed at Gordon.

DEADSHOT: Really? Big guy couldn’t be bothered tonight or are you just bored?

GORDON: (huff)…Floyd…it’s a setup (huff)…hold off…

DEADSHOT: Mmm. Sorry. Check’s already cleared for this one. Thanks for checking on me, though-

PANEL FOUR: Gordon DIVING into Deadshot, knocking him off his feet. The gun on Deadshot’s right wrist is firing wildly into the air.

DEADSHOT: Oooff-

SFX: Pfft…Pfft….

PANEL FIVE: Deadshot is on the ground, delivering a kick directly into Gordon’s head. It’s powerful enough to knock Gordon back. It looks painful.

PAGE FOUR

PANEL ONE: Looking up at the sky, Deadshot diving away from the roof, silhouetted by the moon.

PANEL TWO: Gordon on all fours, blood coming out of his mouth, trying to recover. His eyes are burning.

GORDON: Great.

PANEL THREE: Deadshot running across the street. Gordon’s police cruiser can be seen behind him, parked.

PANEL FOUR: From behind Deadshot now, he’s running right at the patient window he was targeting earlier – the one with the closed curtains and simple potted plant. We need to show that he’s running fast, beating the clock.

PANEL FIVE: BOOM! Big panel. Deadshot exploding through the patient’s window, almost completely horizontal, his arms stretched out directly over his chest, taking aim. Glass showers the room all around him. The patient room itself is rather plain, a simple landscape painting on the wall behind him.

PANEL SIX: Tight on Deadshot’s face. His non-scope, expressive eye wide in shock.

DEADSHOT: NO!

PANEL FIVE

PANEL ONE: On what he’s looking at: Deadshot’s little girl, Zoe, sleeping in her hospital bed. Several stuffed animals and GET WELL balloons surround her.

PANEL TWO: Side shot of Zoe, sitting up in a panic, still half asleep.

ZOE: Eh…wha…Daddy?

PANEL THREE: Another side shot. Medium frame. In the foreground Deadshot stands, looking down, almost ashamed. In the background, Gordon stands at the broken window.

GORDON: Her tonsils were removed this afternoon. The Maroni crime family set you up as payback for offing their European contact, Emil Devine. It was supposed to be a message to stay out of their affairs.

DEADSHOT: How do you know this?

GORDON: One of Maroni’s stooges turned it over to us as part of a plea deal. Said he gave you half a million and told you the patient was a material witness. Sound right? I came because I knew if you carried this out, it would be war.

DEADSHOT: And you think I won’t get revenge on Maroni for this?

PANEL FOUR: Close on Gordon, framed by the shattered window. He’s roughed up, but calm.

GORDON: To what end, Floyd? Then they go after her even harder. I have a daughter too, you know. She was hurt because of the work that I do, the choices that I’ve made. In my case, there wasn’t much I could have done. It’s the sacrifice I agreed to when I signed on to protect Gotham. But you do have a choice. For her. If you leave now, and I don’t have to worry about you, then I got here after you left. No one’s the wiser.

PANEL FIVE: Deadshot is now standing next to his daughter’s bed, looking down at her, comforting her. She hugs him at the waist, her face buried in his side.

DEADSHOT: Doesn’t sound like something you’d be hip to, Gordon.

GORDON (off frame): I work with a vigilante in the name of justice.

DEADSHOT: Hmm.

PANEL SIX: Close on Deadshot, looking down at his daughter, contemplating.

[cbikle]

The Lex Luthor Presidential Library


PAGE 1
Panel 1

Foreground, we see a crowded scene and celebrity reporter, Lola Barnett talking directly to the live camera.

Behind Lola, we see men dressed as "Newsies" from the 1940's, hawking papers (this will make sense later)

Background, we see the library in all its splendor (figure a hybrid of presidential-looking and Metropolis-looking in its architecture).

LOLA BARNETT: For those of you just tuning in, I'm Lola Barnett, live at the opening ceremony for the Lex Luthor Presidential Library.

LOLA BARNETT: An event seeped in controversy mirroring the ex-President's turbulent-yet-popular single term of office.

NEWSIE: "EXTRY ! EXTRY ! Library opening ! EXTRY !

Panel 2

We see Luthor and his two Belle Reve prison guard escorts walking up staircase to the staged podium.

Luthor is wearing an orange prison-jumpsuit and his hands are manacled in front of him.

CAPTION (Lola Barnett): Former president, titan of industry and convicted felon, Lex Luthor has been
granted permission to attend the opening of his presidential library and to say a few words to mark the occasion.

Panel 3

Luthor is standing at the podium and speaks to the crowd of reporters. The two guards are on either side of him and look bored-yet-professional.

LEX LUTHOR: First, let me apologize and explain why I'm dressed in this manner...

LEX LUTHOR: In a unique twist of fate, Amanda Waller, a former member of my cabinet happens to be running the institution where I currently reside and I guess she thought this would be humorous...

Panel 4

Shot of the press, including Clark Kent & Lois Lane, both of whom look annoyed to have to once again listen to more of Luthor's crap.

LEX LUTHOR: But I digress...
LEX LUTHOR: Before I address this honor, I'd like to thank the press for their attendance and to thank them in advance for what I hope will be an accurate and impartial reporting of this landmark day.

Panel 5
Luthor begins speech.

LEX LUTHOR: For four years of security and prosperity, my administration made significant advances in education, scientific advancement and universal healthcare...

PAGE 2

Panel 1

Luthor continues.

LEX LUTHOR: While simultaneously keeping Apokolips and al-Qaida off our doorsteps.

Panel 2

Luthor continues.

LEX LUTHOR: Unhindered by partisan politics or the misguided antics of costumed adventurers, we showed that there was another way of doing things...
LEX LUTHOR: ...A smarter way.

Panel 3

Luthor continues.

LEX LUTHOR: We live in a complex world.
LEX LUTHOR: Sure, it’d be great if “Captain Adolescent Power-Fantasy” could solve world hunger by
punching it in the face, winking at the camera and flying off into the sunset, but that’s not how it’s going to happen...

Panel 4

Luthor continues, but is interrupted by a “reporter” from the crowd.

LEX LUTHOR: Why if---
“REPORTER” : Excuse me, Mr. ex-President, the American people would like to know...
“REPORTER” : Boxers, briefs or do you “go commando” like Nixon ?

Panel 5

Luthor, with great irritation, responds to the interruption. Luthor is scanning the crowd for the person he’s going to arrange to have killed later.

LEX LUTHOR: I’m sorry, you are...?

PAGE 3

Panel 1

We see the press respond with varying degrees of alarm as they notice that the “reporter” is the Joker, wearing his normal clothes with the accessories of a yellow raincoat and a purple fedora with an oversized PRESS card sticking out of its headband.

Clark Kent is not in the crowd of reporters.

THE JOKER: Joker Blitzer for the Joker News Network, where our news is always fair and unbalanced !

Panel 2

Lex Luthor, but now with slightly slumped shoulders and a weary /irritated look on his face, as he realizes that the Joker is going to turn this event into a fiasco.

LEX LUTHOR: ...crap.

Panel 3

The press scatters as the Joker draws a pistol and advances towards the stage. The two Belle Reve guards start to draw their firearms as Luthor tries to tell them what to do.

JOKER: Hi Lexy, miss me ?
LEX LUTHOR: Shoot him !
LEX LUTHOR: Shoot him, you idiots !
THE JOKER: Now is that any way to treat your old partner-in-crime ?

Panel 4

The Joker leaps onto the stage and shoots the two prison guards and at Luthor's manacles, which frees his hands.

THE JOKER: Lexy, the Legion Of Doom hasn't been the same since you left...
THE JOKER: Besides you, Solomon Grundy was the only person I talked to, but nowadays, all he does is complain about the ending of Lost.
LEX LUTHOR: Just had to do it, didn't you ?
LEX LUTHOR: You just had to screw this up for me.

Panel 5

the Joker's gunmen dressed as "Newsies" from the 1940's, pull tommy-guns out of their newspaper-sacks and have surrounded the reporters.

CAPTION (Lex Luthor): You homicidal hack, this ceremony is important to me !

PAGE 4

Panel 1

The Joker advances towards Luthor while tucking his gun into his coatpocket. The 2 wounded guards are on the ground clutching at their wounds.

JOKER: Lexy, I miss the old days of the Joker-Luthor team.
JOKER: The press called us "The Brave & The Bald"...
JOKER: We were positively unbeatable except for those times we were beaten.

Panel 2

A red & blue blur and the wounded guards are gone (Superman moving at super-speed to get them to the ER), recognizing who it is, Luthor yells at Superman, trying to tell him what to do.

LEX LUTHOR: Never mind them you imbecile, protect my library !

Panel 3

As the Joker speaks to Luthor, in the background, we see the library rocked by a series of fiery-explosions.

JOKER: Ah, about that...
SFX : KA-BOOM !
LEX LUTHOR: NO !

Panel 4

A now-enraged Lex Luthor advances towards the Joker, who has his hands up in a defensive "hey-don't-shoot-the-messenger" stance.

In the background, we see a few of the armed "Newsies" about to fire on reporters and we also see the library in flames.

LEX LUTHOR: I'm. going. to. kill. you.
JOKER: Why are you mad at me, this party was dead until I got here.

Panel 5

We see still-enraged Luthor leap at the Joker, who has a comically-scared look on his face (not really scared, just going for a laugh).

In the background, same as above panel, but a red & blue blur (Superman) has replaced the "Newsies", who are suddenly gone (off to jail at super-speed).

LEX LUTHOR: Since, I'll never get a chance to finish my speech now, I'll share the highlights with you...
LEX LUTHOR: and they'll be the last words you'll ever hear.
JOKER: GAH !

PAGE 5

Panel 1
In the foreground, we see Luthor choking the Joker, while the Joker draws the pistol he used earlier.

In the background, we see the red & blue blur fly towards the burning library and fly around it at super-speed.

LEX LUTHOR: "Although Smallville was my birthplace..."
LEX LUTHOR: "Metropolis is where I was born."
LEX LUTHOR: "...If you get the distinction."

Panel 2

Red-faced with bulging veins, Luthor continues to choke the Joker while reciting highlights of his speech; as this is happening, the Joker fires the pistol and a novelty flagpole emanates from the barrel with an attached flag that reads: HE'S CHOKING ME, HELP !!!

Even though the Joker is being choked to death, his facial expression is that of the classic comedy appearance of being choked to death (eyes bulging, tongue lolling horribly, etc). Even while dying, the Joker is the consummate entertainer.

In the background, we see that the flames are dying out thanks to Superman, but the library is still in bad shape.

LEX LUTHOR: "When judged by future generations, I expect I'll be seen as a visionary who heralded a new renaissance of reason and drive."

JOKER: GAKK !

Panel 3

As Luthor continues to choke the Joker, we see Superman's hand grab Luthor's shoulder, interrupting his speech.

LEX LUTHOR: "As Thomas Edison once said---"
SUPERMAN (from off-panel): Alright ladies, that's about enough...

Panel 4

With a slightly amused smile on his face, we see Superman holding Luthor and Joker up by their collars and away from each other. Even though he's holding them apart, Luthor is still swinging at the Joker, while the Joker makes "Nyah, nyah, you can't get me faces" at him. The panel should evoke this iconic Superman cover.

Panel 5

The above panel as a photograph on the front page of the Daily Planet with the headline of CEREMONY ERUPTS INTO CHAOS ! and the byline of: ZERO CASUALTIES THANKS TO SUPERMAN !

The End.

[Mahnmut]

Okay, so here's my script for the Atom. It's an excerpt where I tried my best to capture a climax scene for a late Seventies early Eighties JLA story. Wasn't too sure about his density powers so I just kind of winged it. Anyway let me know what you guys think.


Page One:
Panel 1: Inside a huge round metal room. The walls are dark grey with streaks where the paint is peeling. There are puddles of water on the floor and water is dripping from the ceiling down the wall. There is a large door in in the wall with a barred window in the middle of it. Hanging from the walls with their arms over their heads and their wrists cuffed in shackles are the JLA, they are all unconscious. Batman hangs a few feet off the ground with his legs dangling. He isn’t wearing his utility belt and his head is handing to one side. Beside him is Green Arrow, also unconscious, hanging a few feet in the air his bow, quiver, and hat are all gone. Elongated Man is also dangling from a pair of shackles but these are smaller. He looks stretched out and melted drooping all the way to the floor below. Green Lantern hangs beside him but instead of the regular shackles he is hanging from a pair of yellow ones that cover his hands, he is also unconscious. Zatanna is unconscious beside Lantern, she has her head to one side and there is a metal gag around her mouth. The Flash is sitting unconscious on the floor of the cell with his hands shackled above him; his feet seem to be melted into the floor. Beside The Flash hangs Hawkman a few feet off the floor he has huge metal bands wrapped around his wings holding his arms down as well. His red hawk symbol, however, is in between two of the bands.

CAPTION: Meanwhile...back at the alien spacecraft...

Panel 2: Close-up on the hawk symbol on Hawkman’s hairy chest, a small shadow moves behind the red jewel.

SFX: CH-CHAK!

Panel 3: The red cover flips upward and there stands the Atom in all his silver age glory, he has a smile on his face and both arms above his head holding the cover of Hawkman’s hawk symbol above him. He is leaning slightly out into the room.
ATOM: Some plan Batman came up with, everyone gets captured so that they can infiltrate the mother ship. Now, all I have to do is figure out a way to get them out of here.

Panel 4: He jumps into the air with his arms stretched out from his body and his legs lifted up over his head like a diver coming off the diving board at the top of his arc.

ATOM: Well, it won’t get done if I don’t get started.

Panel 5: He hits the ground and bounces up toward the cell door. With this there should be motion lines behind him showing the landing on the floor and then the bounce back up. The Atom should be suspended in midair halfway between the bounce and the door.

Page Two:
Panel 1: He lands on the cell door and looks outside. He is standing between two of the bars in the door.
Panel 2: From outside the cell we see two guards standing on each side of the door. They are large and green with features kind of like an alligator or crocodile, with long snouts, sharp teeth, and cold black eyes. They are dressed identically in small bluish swim trunks connected to belts that crisscross over their chests. The each have a futuristic looking spear type weapon that looks like it could either shoot beams or stab someone. The Atom is a small dot in the middle of the window between two of the bars. The walls are the same dirty grey as inside the cell.

ATOM (thought): Now to adjust the density of my body and give these creeps the surprise of their lives!

Panel 3: He reaches down and adjusts a dial his belt while he jumps off the edge of the door he has the classic atomic symbols moving in and around his body.
Panel 4: He slams into the guards on the right as hard as he can and he flies off his feet backward as if he were hit by a ton of bricks. The guard looks scared and surprised at the same time. The other guard is spinning around looking at him as he falls with his spear at the ready.
Panel 5: The Atom stands on the guard’s snout and flips him in the forehead causing the guards head to snap back in unconsciousness.
Panel 6: The other guard is stepping forward with his spear at the ready there are little bolts of electricity arcing from the tip of his spear as Atom is doing a back flip off the other guard’s nose toward him.

ATOM: Don’t worry fella I didn’t forget about you.

Page Three:
Panel 1: He slams into the other guard’s chest hard causing him to drop his spear; the guard flies backward with his arms and legs splaying out in front of him. His mouth is open and he looks absolutely stunned.
Panel 2: The guard hits the floor as the Atom looks upward while standing on his chest.

ATOM: Okay where is it?

Panel 3: Close-up on an access panel above the cell door it is a slightly lighter shade of grey than the rest of the wall, it has a glossy shine to it and bolts on each corner.

ATOM: There we go.

Panel 4: He reaches down to his belt again and adjusts the dial on the buckle backwards.

SFX: CLICK. CLICK .CLICK.
ATOM: Now, to adjust the density of my body to light as a feather and...

Panel 5: He jumps up from the chest of the guard lying on the floor. Once again the leap is followed by motion lines almost up to the top of the door to the access panel.

SFX: CLICK. CLICK. CLICK.
ATOM: ...then to readjust to three times my normal body density and...

Panel 6: He hits the access panel and causes it to cave in. The metal crumples and the bolts fly out of the corners as he goes through it.
SFX: KA-RUNCH!!
ATOM: ...I’ll go right through the access plate!!

Page Four:
Panel 1: The Atom looks shocked as the inside of the access plate turns red with flashing lights. He is surrounded by multi colored switches and lights. There are bunches of wires all around him.

ATOM: Great Scott! The alarm!

Panel 2: He turns and grabs handfuls of the wires around him and starts tearing them from their moorings in the access panel, sparks are flying all around him.

ATOM: I’ve got to act fast!

Panel 3: He runs up the tunnel tearing wires out of the walls as he goes. Sparks continue to fly all around him as he runs.

ATOM: Come on, where is it?

Panel 4: He comes to a panel that is red and black with a switch on it and a series of wires leading in and out of it. Over the top of the panel is written the word: DETENTION.
Panel 5: He jumps up and shoves the switch down ward as sparks start to fly from it.
Panel 6: Atom rips the wires loose from the panel and sparks fly from it.

Page Five:
Panel 1: Five of the crocodile guards stand at the door to the detention area each with the spear weapons in their hands. Two of the guards are down on one knee tending to the two that are on the ground unconscious and three of them are standing in front of the door. Two to the left and right and one in the center with his back to us, he is the same as the others but he has a cape tied to his back with a braided cord. He has a small remote control in his left hand.

GUARD #1: I don’t know why they sent us down here. There’s no way they could have escaped.

Panel 2: He reaches his hand out and places his thumb on the button as he aims it at the door.
Panel 3: He presses the button.

SFX: Click!

Panel 4: The door begins to open.
Panel 5: The door opens completely and the guards stand there in fear and surprise as the JLA leap toward them. Batman is in the center jumping forward with one fist cocked back ready for business, Green Arrow is running beside him yelling with his fists tightened, Green Lantern is flying at the top of the frame with one hand out in front of him and his power ring glowing green, Hawkman is beside him flying forward with both arms in front of him and his wings spread, Zatanna is running beside Green Arrow with her hands glowing while she talks, The Flash is running about five feet in front of everyone else at super speed, and the Elongated man is in the back his lower body is on the left side of the panel with his midsection stretched out, his left arm is stretched up toward the ceiling, his right arm is stretching out of the door punching one of the guards in the face and his neck and head stretched out to the far right of the panel.
BATMAN: Go!
Zatanna: Peels!

[Favorite-N]

Here's my attempt. It's the first five pages of a longer story. Let me know what you think.


BATWOMAN



PAGE 1 – (4 Panels)
A splash page of the city of Gotham, inlayed on top of the splash page is going to have “magnified” panel images that are close ups of things happening in the city.

PANEL 1: (SPLASH PAGE) An aerial shot, literally from several hundred feet in the air. We are looking from the southern coast of Gotham city. The sun has almost set to the west bank. The sky is orange and cascades around into a purple dusk coming from the east. The city curves around the horizon of the earth. We can tell that the west end of Gotham is ritzy and lavish. The southern end is very industrial and commercial, with a large pier. The Northern part of the city has some large skyscrapers plus the hinting of Gotham city Amusement park in the far north peninsula. The east should look extremely ghetto. Project type buildings, brick and mortar instead of steel and glass. Probably even some construction cranes. The nightlife is coming alive. Buildings lights should be on, there should be considerable traffic. And an unnatural glow builds from the city itself.

CAPTION 1: If there was ever a place guilty of producing the feeling of déjà vu.
CAPTION 2: It would be Gotham City.
CAPTION 3: Sometimes it feels like I’m working against the tide.
CAPTION 4: Every time it manages to recede.
CAPTION 5: And calmness finds a way to wash over me…
CAPTION 6: …over the City.
CAPTION 7: The waves return with even more force than ever.
CAPTION 8: Like clockwork you can predict when and where the USUALS will strike.


PANEL 2: One of the three inlay images that will look like magnified sectors of the city. All three of these inlays will be around the southern border of the Gotham city. This one is to the left corner but touching Gotham city. We see the main glass window smashed open. The First Man stands by the back of an open van, he is reaching out towards a second man who is handing a box with a TV in it out of the store. They are wearing basic jeans, a black sweater or grey sweater. The one inside the store is wearing pantyhose on his head. The legs of which, dangle around his shoulders.

CAPTION 1: (this caption should be above this panel slightly) The thief’s on Braxton.

CAPTION 2 (this caption should be below it) Same grief stricken shop owners to find their inventory gone.

THIEF 1 (coming from outside the store): Hurry it up!

PANEL 3: Second of the three inlay images, this one is in the bottom center of the page again made to look like a magnified image of a portion of Gotham city down below. In this panel we are on a worms eye view of a kid obviously a teen and young, weak and nerdy, his backpack being ripped from his arm. His other arm is up close to his face in defense. His nose is bleeding; his eyes are welled shut from the tears. Three men, silhouetted by street lamps over their heads, stand menacingly over the teen. They are pummeling on the kid.

CAPTION 1: (this caption should be above the panel slightly) The muggers on 5th and Hinshaw.

CAPTION 2: (this caption should be below the panel) The same teenager trying to make it home before the prowlers come out.

TEENAGER: P-P-P-Pleaseeeee…sssstop…

PANEL 4: Third and final inlay image. This one is on the bottom right corner but still touch Gotham city. This is magnifying a high angle shot of a narrow street. Tall, dilapidated brick buildings. The pavement is wet and stinky. A lone female figure walks down the middle of the road, clutching her purse to her chest. We can see people following her from the dark shadows.

CAPTION 1: The same rapists and murderers…

CAPTION 2: The same helpless woman going down Crime Alley…

MURDERER: Psst! Hey girl. Hey!

RAPIST: Whatcha doin dolly?




PAGE 2 – (5 Panels)
This page will have five horizontal panels. All of them are the same scenery but the action in them will change. The description of the geography of each panel is as such: This page is the same location as Panel 4 from Page 1. Crime Alley. From this point of view we are at head height view of the street. In the background a bridge should fly across the top cutting down on our view of the sky. On the left side should be buildings that go all the way down to the end of the horizon. On the right should be miscellaneous industrial equipment i.e. telephone and power lines, construction equipment. Beat up dead cars should line the sidewalk as well. This is the setting.

PANEL 1: In full view halfway down the road facing us is the same woman from Panel 4 of Page 1. She clutches her purse and is in a slight run towards us. Her mouth is wide and her eyes are terror struck. Please note she should be wearing a nice grey coat, something with buttons. Her clothing under the jacket should be a pantsuit. Her purse should have a gold buckle. Chasing her are two men. They are gaining on her. The RAPIST is shorter than the other, with a double chin and wearing a baseball cap. The other one (MURDER) is taller, not muscular but borderline Samoan. The Murderer is darker skinned with a ponytail to keep his long black hair out of his face. The woman’s name is HEATHER.

CAPTION 1: You’d think they would have learned but some people…

HEATHER: Somebody! Help! Somebody!

PANEL 2: Closer to frame now. Still in full view we can see Heather from head to toe but now she is much closer and we can see just how much fear is pulsating through her pores. The MURDERER grabs Heather’s shoulder. The Rapist is lagging behind because he is not an athlete by any means. Heather’s face is looking over her shoulder to the Murderer.

RAPIST: Huff…Huff…

HEATHER: God! No!

MURDERER: Gotchu!

CAPTION: …innocent as they may be are glutens for punishment.

PANEL 3: Over the shoulder of Heather, she hits the Murderer with her purse, he barely flinches. The Rapist has caught up to them. Both the Murderer and Rapist are hungry for what Heather can offer them. The Murderer has a good grip on her shoulders. In the background filling up the only purple night sky there is to see is a bat like creature.

HEATHER: Help! Somebody Help!

CAPTION: Take this woman for instance.

CAPTION 2: Heather Grandsteal.


PANEL 4: The frame is empty almost. We can see The Murderer’s head popping up out of frame and the Rapist is working on his belt buckle. In the background with the little sky that we can see, a black silhouette of a bat like creature is outlined by the purple night sky, it is much closer to us and we should be able to tell that it is a person in a bat suit. It's Batwoman.

RAPIST: Hold her down and shut her up damn it!

HEATHER: (Off Panel) Help Me!

CAPTION: This will be with sixth time I have saved her in as many months.


PANEL 5: The Rapist head spins around as the boot of BATWOMAN crashes into the side of it. The Murderer’s head pops up from the bottom of frame and looks surprised and scared.

SFX: KRAK

RAPIST: Gllarrgg

MURDERER: Huh?

CAPTION: Like the tide…or an endless loop…





PAGE 3 – (3 Panels)

PANEL 1: From an over the hip shot we are looking through the jagged gauntlet of Batwoman’s forearm guards. Heather is on the ground covering her face, in the fetal position. Her clothes are torn and tattered. The Rapist is out cold, blood spilling out from his mouth and teeth missing. The Murderer is on his knees but fully erect.

MURDERER: What the F----

CAPTION: She just keeps coming back…

PANEL 2: A close up of the Murderer’s face getting smashed in by Batwoman’s fist. His nose crumbles under the force and his eyes roll in the back of his head.

SFX: KRRUNCH

CAPTION: …They keep coming back.

PANEL 3: Looking down on Heather from above. She peers through her fingers to see her savior has come. Relief should be revealing itself through her fear. The body of the knocked out Rapist should be to our right and the legs of the Murderer should be the only things on panel to the left where he is out cold as well.

CAPTION: No matter how many times I push it away…they keep coming back.

BATWOMAN: (Off Panel) This is the sixth time Heather!






PAGE 4: SPLASH PAGE.

PANEL 1: This page is an over the shoulder from the ground of Heather looking up at Batwoman who extends her arm out in an effort to assist Heather even more by lifting her from the ground. Heather’s face should be cheated out to page so we can see her tears drying on her face. Batwoman is anything but pleased by the situation.

HEATHER: Batwoman! …I’m sorry. I guess I just get so frustrated I don’t pay attention to my surroundings.

BATWOMAN: Like a Lemur.

CAPTION: Heather Grandsteal. I’ve saved her before, I’ve saved her again, and I’ll probably have to save her in the future.

CAPTION 2: Déjà vu…this city does that to you.





PAGE 5 – (7 Panels)

PANEL 1: The first panel is a horizontal panel stretching across the top of the page; it is split down the middle. The panel is two headshots. Batwoman on the left of the page looking right, she is staring straight at Heather very miffed about her continually putting herself in danger.

BATWOMAN (1): This is the last time Heather! I can’t be expected to always be here at the right time. If I had been a few minutes later than--

PANEL 2: This is the other half of Panel 1 where Heather is in a Head shot and facing Batwoman but her head and eyes are pointed down, a demeanor that would best reflect a child that knows they have done something bad. If we could see her whole body we would see that she is holding herself in shame.

HEATHER (1): But you always save me. You’re always on time.

PANEL 3: In this panel Batwoman will be in a medium shot from the hip up. A quasi-blank stare on her face, she is not amused. The waterfront part of the city can be seen in the background.

BATWOMAN: …

PANEL 4: Next to Panel 2. A close up of Batwoman, her hand pointing directly at the Heather, at the Reader as far as perspective goes. Her teeth are barred.

BATWOMAN: Stay out of Crime Alley. Stay out of the East End! I’m serious. I can’t baby-sit you! You’re a grown woman, make smart choices or else you might be so lucky next time.

PANEL 5: A small vertical panel. Heather hurries down the street in the center of the panel. We are looking over Batwoman’s shoulder as she watches Heather leave.

CAPTION: She listens as she always does and hurries home.

PANEL 6: A similar sized vertical panel next to Panel 5 in the middle of the bottom of the page. This one is a Close up of Heather as she looks back at Batwoman all doe eyed. Signs of depression are hinting through the wrinkles on her forehead.

CAPTION: But there is something more to Heather Grandsteal.

CAPTION: Like the tide, Heather Grandsteal will be back.

PANEL 7: A similar sized vertical panel 5 and 6. A close up on Batwoman, this should be an image of worry and concern.

CAPTION: But I worry that I might not.

[Red Fox]

PAGE 1: 5 PANELS

Panel 1: Wide, high angle shot looking down toward an elegant tower in Mid-Town Gotham at night. It’s clean here, not the decaying, urban landscape we are used to. Mid-Town has somehow risen above the rot below. From the streets rise shafts of lights from spotlights, calling attention to the grandeur of Mid-Town. The tower itself is a gleaming shaft of steel and glass. Atop the roof is an intricately designed atrium. Through it we can see the pulsing of neon lights; a mix of blue, red, green. It’s a club. The Iceberg Lounge.

CAPTION:Time Magazine once did a piece on Gotham calling it a black stain on the fabric of America.

CAPTION: A local parent group, insulted by the truth, stood up and held a rally protesting the article.

CAPTION: It drew a huge crowd...until the Joker tossed a grenade into the middle of it.

Panel 2: Large panel. Angle on Batwoman inside the club. A MASSIVE man in a designer suit has her in a rear choke hold, lifting her off the ground. She’s gripping the man’s hulking forearms, fighting to break loose. The Club is in a panic, people running in all directions, avoiding the fight. On the ground is the aftermath of what must have been a spectacular battle. Bodies of other guards lie battered and broken on the floor. The club itself has spared no expense in elegance. Stone statues adorn the room behind the struggle.

CAPTION: He called it irony.

CAPTION: That’s the thing about Gotham.

CAPTION: She's full of surprises.

MASSIVE: HRAAAH!

BATWOMAN: Glllk!

Panel 3: Close on Batwoman’s hand as it flicks out a butterfly knife from her belt.

SFX:Flink Flink Flink

Panel 4: Close on MASSIVE’s face, a look of sheer pain and horror on his face. He’s been stabbed...in a terrible place.

SFX:SHAK

MASSIVE: HYAAAAH!

Panel 5: Angle on Batwoman, who has landed to her feet, free from the choke hold. MASSIVE falls to the ground in a heap, clutching his groin.

SFX:FUMP

PENGUIN (OFF PANEL): Oh, ho ho! That was just sexy as all hell!


PAGE 2: 6 PANELS

Panel 1: Angle on the Penguin sitting at a VIP booth. He’s flanked by two European models, coked out of their minds. Behind the booth is an intricate waterfall.

PENGUIN:Normally it’s your daddy who comes in here, scaring the customers. He’s just never looked so good doing it.

PENGUIN: It’s nice to get a look at what he’s tapping in the bedroom. I’m jealous of the big guy.

PENGUIN: Tell me...

Panel 2: Close on the Penguin’s fat face. He’s got a perverted smirk across it.

PENGUIN: ...carpet match the drapes?

Panel 3: Angle on Batwoman, who has grabbed Penguin from the shirt collar and has yanked him out across the table. The two models dive out of the way in fear. Penguin squeals in terror.

BATWOMAN : You tell me...Is it true what they say about small feet?

PENGUIN : Whooaaa!

Panel 4: Low angle shot, looking up at Penguin and Batwoman, who has him a a perfect shoulder lock. Penguin twists with the pain of it all, gritting his teeth. Batwoman’s as calm as ever.

BATWOMAN : You been watching the news?

PENGUIN: What of it?!

BATWOMAN: A foreign ambassador’s daughter has gone missing. He’s tracked her to Gotham.

Panel 5: Angle on Batwoman and Penguin, still in the shoulder lock.

PENGUIN: What’s that got to do with me?

BATWOMAN : You’ve got a talent for moving women. The ambassador knows it, too. Only a matter of time before you’ve got a foreign government hunting you.

BATWOMAN: Tell me where these girls of yours filter in.

PENGUIN: I’m going to let some menstruating broad muscle me?!

Panel 6: Close on Penguin’s fat face as he screams in agony.

SFX:KRAK


PAGE 3: 5 PANELS

Panel 1: Wide, high angle shot of the Gotham Truck Depot at night. It’s a rusted, grungy outpost on the edge of the city, right along side the sprawling dockyards of Gotham Harbor Shipping containers stretch skyward. Tractor trailers weave in and out of the arteries heading out into the city. We focus on particular tractor trailer with a line of SUVs pulled up waiting for something. Men with assault rifles hustle around it, working fast. One man unlocks the trailer doors. Very suspicious activity.

CAPTION: When fatty saw his shoulder out of its socket and his arm hanging like a piece of meat, he didn’t hesitate to rattle off a list of names.

CAPTION: He was even kind enough to spell them for me.

Panel 2: Angel on the open trailer as the headlights from the SUVs add heavy light and shadow. Inside, a dozen young women, cold, dirty, and terrified, huddle together. The armed men are pulling at them to get out.

CAPTION: It was no surprise that the list took me to the depot.

CAPTION: Drugs, weapons, exotic animals. You pick the right night you’ll see almost anything at the depot.

Panel 3: Low angle shot as the women pile out. Armed men surround them, ushering them to various SUVs. Above them all, in the night sky, are three equally spaced vapor trails swooping down toward us. Rockets.

CAPTION: Take these rockets for example. Just sitting in a crate over there.

GUARD: Vaya! Vaya!

SFX: FWOOOOOOOOOOSH

Panel 4: Wide angle shot on the SUVs as three projectiles hit the engines of the vehicles with three controlled explosions. Thugs dive for cover.

CAPTION: Fun. I think I’ll keep these.

SFX: FOOM

SFX: FOOM

SFX: FOOM

Panel 5: Low angle shot as Batwoman dives toward us. Her arms extend toward us, releasing dozens of jagged razor shurikens.

NO COPY


PAGE 4: 5 PANELS

Panel 1: Dynamic panel. Angle on Batwoman as she dispatches multiple thugs with a devastating kick and a nasty little chain whip that she’s wielding like a mace. The whip’s weighted end bashing in jaws and teeth.

SFX:Ch-Chink

SFX:Th-Thack

THUG 1: Gah!

THUG 2: Hak!

THUG 3: Fugh!

Panel 2: Close on a thug as the weighted end impacts his jaw sending teeth flying.

SFX:CRUNCH

Panel 3: Angle on Ramon, the Thug ring leader making a run for it toward us as Batwoman’s chain whip, twirls around his neck.

RAMON: No!

SFX: Ch-Chink

Panel 4: Angle on Ramon as he is dragged by his neck towards an awaiting Batwoman. He writhes and flails like an insect caught in a web.

BATWOMAN: La justicia ha venido para usted, Ramon.

RAMON: No! No! No!

Panel 5: Close on the terrified Ramon.

BATWOMAN (Off Panel): Si, Ramon.

BATWOMAN (OFF PANEL): La hija del embajador. Usted me dirá donde es.


PAGE 5: 4 PANELS

Panel 1: Wide angle shot of Gotham’s Red Light District. The seedy underbelly of the city. It’s a line of brothels, peep shows and theaters. Prostitutes, pimps, and junkies litter the streets.

CAPTION: The Red Light District. Might as well be the morgue.

Panel 2: Angel on Batwoman walking toward us through a grimy brothel hallway. The walls are stained and the sheet rock is crumbling in most spots. There’s a lot of water damage and rust from the pipes overhead. A few bodies are strewn onto the dirty floor, badly beaten. A woman, the owner of the brothel, cowers in fear in the corner. In Batwoman’s arms is the limp body of the Ambassador’s daughter.

CAPTION: She was chained to a bed. Drugged to take the fight out of her. Her pulse, if you could call it that, was faint at best.

Panel 3: Angel over Batwoman’s shoulder as she crouches on the ledge of an adjacent building, looking down at the brothel. It’s surrounded by police and SWAT. Police lines are being set up, containing the gathering crowds and the press.

CAPTION: She was taken to Gotham General, but the Ambassador’s already flown her out of here. He wants his daughter far away from this hell hole.

CAPTION: Gotham’s now an international problem. To save face, The President just issued a curfew on the city. Troops are shipping in to enforce it.

Panel 4: Same, only now the gloved hand of Batman is placed on her shoulder.

CAPTION: The boss is gonna be pissed.

BATMAN: I want to know everything.

-End-

[knutomix]

Hi Everyone, I love the works of Gail Simone, therefore I picked the only Atom I am really familiar with: poor, deceised Ryan Choi.
Admittedly I am a bit handicapped, because:
1.) This is my first script ever.
2.) I have the bad habit of continual postponement, so even this first is rather sketchy.
3.) Even if I am good at english, it is not my native language, so I have limited vocabulary and grammar skills, but I am improving

That was the prologue... Here comes the thrilling story of Mr Vertigo!
I am curious to know about your opinions/criticism.

PAGE 1 (5 panels)

PANEL 1
Close on Ryan Choi as he stands in his open front door. He looks surprised.

CAP: 17:00
CAP/RYAN: It was Panda’s idea --


PANEL 2
Ryan’s garden is full of enthusiastic fellows: His friends (Panda, Helmond Kettering, Thomas Dinawa, Martin Campbell, Doris Zeul) are standing in the very front with bottles of champagne in their hands. Behind them there are college girls chatting and then college guys with beers, then Donna Troy, Roy Harper (Red Arrow) and Jennifer Pierce (Lightning). And of course: the Head. Everyone seems pretty happy. Obviously they are coming to make a huge unplanned party at Ryan’s appartment.

CAP/RYAN: --to keep a low profile celebration of my admission to the JLA.
HEAD: PARTY WE HAVE WITH RYANCHOI!!!
CAP/RYAN: In his interpretation low profile means close friends, good acquaintances, close friends’ acquaintances, good acquaintances’ close friends, some superhero and the Head.


PANEL 3
This panel is as wide as the page.
The living-room looks like there were a nuclear strike. Girls and boys are lying unconscious everywhere, bottles around them. From some of the bottles beer and champagne has been flowing to the carpet. Zuel has turned to Giganta: her toes are at the fireplace while her forearm leans on the sill. The four friends are sitting at the card table, but their heads have tumbled to the table among the chips and cards and empty bottles. Donna Troy vomits at the corner of the room, while Roy Harper hugs a barely dressed girl in the couch, but he looks rather sick. Jennyifer Pierce burns fuzzy, sooty lines to the walls around as she throws lightnings, while she is revolving around.
Ryan Choi is standing beside the couch in all four.


CAP: 18:00
CAP/RYAN: It became a usual, Ivy-esque party...
HELMOND KETTERING (whispering): Mmmm... better than everything I ever tried...
ROY HARPER: Glll, urp...
CAP/RYAN: ...almost, because some disturbing circumstances and vital topics are emerged, as...


PANEL 4
Close on Ryan’s body and legs. He is still in all four, his head is covered by the couch now, so we do not see him puking.

CAP/RYAN: ad1: I wonder if the undigested nutriment is shrinkink with my body or not?
SFX (Ryan): BOARF!

PANEL 5
Close on the couch with Roy Harper on it as he tries to push the unconscious girl off him, in the back we can see Donna Troy, who is still vomiting at the corner. Giganta’s body is lying in front of the couch, we only see her from her hips to her breasts. We can also capture the scorched lines on the wall burnt by Jennifer Pierce.

CAP/RYAN: Why did Panda invite legacy heroes?
MR VERTIGO (Off-Panel): ...and I am really special from my birth!
CAP/RYAN: And who is this uninvited idiot in my living room?



PAGE 2 (splashed page)
In the center of the destroyed living room a puny, Peter Sellers-like fellow is standing in a straddling position and raising his hands above his head. He has long, curly hair (ok, this is not quite Peter Sellers-like.) He wears shabby, slowenly red tails with black pants white shirt and a black bow-tie. Copernicus is barking at the guy. The Head is at the lower left corner of the page.
The guy just starts his own monologue, the wordballoons are placed as the capsules of a Ferris wheel, starting from the left side of the guy’s stomach.

MR VERTIGO: And this is not the “i used to have sex with goats”-like specialty...
MR VERTIGO: ...nor the “nobody can understand me, crybaby”-like specialty.
MR VERTIGO: Oh, no. I am different. I am really special!
MR VERTIGO: When I was young, my family run a fun fair with a huge Ferris Wheel.
MR VERTIGO: When I did some naughty stuff, and hell, I did...
MR VERTIGO: ...my mom locked me to a capsule and left me circling for hours or even days.
MR VERTIGO: I have had the dizziness in myself since that time.
MR VERTIGO: Dizziness, which I can project to every human being, therefore
MR VERTIGO: I can make you throw your organs out, until you will be dehydrated!
MR VERTIGO: I will rule the world over your dried and decayed body!
MR VERTIGO: Surrender to MR VERTIGO!

CAP/RYAN: Why do I have the lamest villains?



PAGE 3 (5 panels)

PANEL 1
Roy Harper is now sitting on the couch. He grasps the armrest, his shirt full of vomit.

CAP/RYAN: Why? Who else’s rogues gallery does this freak fit into?

ROY HARPER (Screams): If the spin stops, i will tear your backbone out, you bastard!


PANEL 2
Donna Troy is still at the corner on her hunkers.

(No dialogue)


PANEL 3
Jennifer Pierce is lying in her back, so she burns holes to the ceiling now.

JENNIFER PIERCE: Icantstopohmygodstoptheworld...

CAP/RYAN: Nevermind...


PANEL 4
Mr Vertigo in the same pose as before. Giganta head can be seen at the lower left corner. Copernicus backed away a bit, now she is at Giganta’s head and still barking.

MR VERTIGO: I am the greatest villain in the universe!
MR VERTIGO: And what makes one the most greatest villain!?!


PANEL 5
The card table. Panda pushes himself away from the table, or at least he tries to do it. A chip stuck to his forehead. Dinawa has fallen off his chair and now holds on to the leg of the table. The two others’ heads are still lying among the cards and chips.

HELMOND KETTERING: The high-flown boasting?
MARTIN CAMPBELL: The self-justification driven by inferiority complex?
THOMAS DINAWA: The tedious monologues?
PANDA: The glam-rock pose?
MR VERTIGO: No, de extremly high IQ and the specialty, and i am really special from my birth!

CAP/RYAN: Oh, no, not again...



PAGE 4 (9 panels)

PANEL 1
Ryan Choi shrinks, as he used to, with the glowing atom sign around him. He is stripped to the waist, but he wears his Atom pants and the belt. His shirt, what he was wearing in the party is lying around him.

(No dialogue)


PANEL 2
Ryan Choi pushes off, turns a somersault and flies off the panel.

(No dialogue)


PANEL 3
Ryan is falling to the hips of Giganta, as he cannot direct himself to Mr Vertigo.

MR VERTIGO (Off-Panel): ...“nobody can understand me, crybaby”-like specialty. Oh, no...
CAP/ATOM: Idiot.


PANEL 4-6
Wide continous panel, broken up into three by grids.
We follow Atom crawling from Giganta’s hips to her head: hips in the first, breast in the middle and her head in the last part.

CAP/ATOM (Panel 4): If the contenct of her stomach is growing with her...
CAP/ATOM (Panel 5): ...I hope she won’t wake up till it ends.
CAP/ATOM (Panel 6): She wasn’t knocked out by Mr Vertigo, but by Mr Cheap Tequila.


PANEL 7
Ryan jumps to Copernicus, who is still at the head of Giganta.


CAP/ATOM: Vertigo cannot make Copernicus dizzy. That gives me an idea.


PANEL 8
Ryan on the back of the dog, among her furs.

CAP/ATOM: And now what?


PANEL9
Sitting on the floor, Prof Dinawa is bubbling something.

THOMAS DINAWA: Endolymph.
CAP/ATOM: Endolymph?



PAGE 5 (7 panels)

PANEL 1
Illustration of an inner ear containing the vestibular system and even the cupulas and the endolympha. (like the fig2 and fig4 in this site: http://weboflife.nasa.gov/learningRe...bularbrief.htm)

CAP/ATOM: Thomas, you are genious.
CAP/ATOM: So the dizziness and the equilibrium disturbance is caused by the disharmony between the informations from the vestibular system and the eyes and the muscles. Noneteless the brain can compensate the temporary absence of one of the information sources.
CAP/ATOM: Vertigo can influence the movement of the fluid, the endolymph, so if i can increase the density of the fluid, i.e. i can slow it down, i can temporary kill this source.


PANEL 2
Close on Ryan’s head. He is in terrible pain.

CAP/ATOM: Which causes an immediate pressure increase, which causes a terrible headache.


PANEL 3
Copernicus is still barking at the head of Giganta.

CAP/ATOM: Now... i only have to convince Copernicus to go closer to Vertigo...


PANEL 4
Ryan bows in pain.

(No dialogue)


PANEL 5
Ryan falls to his knees, grabs his head and srcreams.

CAP/ATOM: ...before my brain is going to atropy due to the highly increased fluid pressure in my head.


PANEL 6
The dog lancerates Vertigo’s pants.


CAP/ATOM: Good dog!
MR VERTIGO: ...had the dizziness, I can project to every hum... Arrrghhh!!
CAP/ATOM: And now i need to catch the best.fitting superheroic entrée and voice.


PANEL 7
Ryan Choi jumps and grows from the back of Copernicus and punches directly to Vertigo’s head.

ATOM: Shut up!!!

[Favorite-N]

Well, here is my attempt. C+C is always welcomed.



BATMAN: Too Far Gone


PAGE 1: (9 Panels)
Each panel are equal in size and squared as they fill up the page.

Panel 1: Looking up from the ground we see a sky light and an industrial lamp in the background and a fist clenched tight, the iconic gauntlets of Batman are silhouetted against the hars Industrial Lamp hanging from the ceiling.
CAPTION: How did I get here?

Panel 2: The same frame but the fist is now gone, replaced with the sound effect.
SFX: KRAK

Panel 3: The same frame, the fist has returned but there are sweat droplets falling off the glove violently and a little dab of blood.
CAPTION: How did I get to this point?

PANEL 4: A close up of the bat symbol emblazoned on the chest. A splatter of blood splashes across the beautiful golden symbol.
SFX: CRUNCH

Panel 5: Same panel as 1-3. the fist is back and even bloodier than before.
CAPTION: I’ve done this for years…decades.

Panel 6: A close up of a flower pin attached to the lapel of a purple coat. Most of the petals have been torn off and blood splatter colors the white flower.
CAPTION: I usually know when to stop.

Panel 7: Same panel as 1-3 and 5 with the fist pack and bloody again.
CAPTION: But today is not that day.

Panel 8: Looking up from the ground we see the haunting sillhoute of a demonic batman and glowing white eyes staring down at us. His fist coming across the bottom of the panel.
SFX: SNAP!
CAPTION:Today I don’t stop. I hit him again. And again. And again.

Panel 9: Close up of a broken mouth, large jagged ugly teeth sit in the gums. A lot of missing teeth. A lot of blood.
SFX: …ssssspppp…
CAPTION:His face looks like the butt end of a blender joke.


PAGE 2: (Splash Page)

Splash Page: This page is a high angle looking down. Batman stands to the left of frame, his face cheated out to the reader just slightly so we can see his teeth are barred and grinding. His right hand is clenched tight in a fist and covered in blood as he stands over the pummeled corpse of the Joker who lies there, spraulled out, all his limbs look broken. His clothes is bloody and a mess. His jaw is broken. His nose is smashed and his eyes are puffy from the beating.

CAPTION: What’s white and green and red all over?
CAPTION: The Joker, that’s who.


Page 3: (7 Panels)

Panel 1: Taking up 1/3 of the page. Batman stands there, his hands down by his side, his head hanging down and his cape wrapped around him. The chest emblem half covered by the cape. The harsh industrial light lights him like a film noir. In the background 5 People can be seen. From left to right: Halo. Metamorpho, Nightwing, Green Arrow missing arm and an old Black Canary.

CAPTION: How did I get here?

Panel 2: Center alignment of page but just below Panel 1. Batman peers over his shoulder at his friends behind him. Batman gives us an evil haunting stare.

CAPTION:And as I look around at the faces of those I once called ally
Those I once called friend... I hardly recognize them anymore…

Panel 3-7 are all the same size panels, they are close ups of all those watching

Panel 3: Close on Halo tears running down her face, both hands covering her mouth, shocked beyond all comprehension at what she has witnessed.
CAPTION: How many of them have families now.

Panel 4: Metamorpho tries his best to hide the extreme sadness that is building up behind his large eyes.
CAPTION: How many birthdays.

Panel 5: Nightwing stands there, with a blank face. His lips shut tight. No emotion in his face whatsoever. He is empty and vacant.
CAPTION: How many weddings.

Panel 6: Green Arrow His hat hiding most of his face. He knows what Batman did was wrong. But he knows that it was a long time coming.
CAPTION: How many celebrations have I missed.

Panel 7: Black Canary runs her hand through her hair trying to contemplate the sheer horror of the situation.
CAPTION: It was only a matter of time.


PAGE 4: (5 Panels)

Panel 1: A long panel stretching across the top. On the left of the panel Batman is running to the right in profile through the rain. His face is sunken with panic. The city of gotham behind him is stark black and white and dissolves into a black and white forest that fills the last half of the panel to the right where a young Bruce Wayne runs from a swarm of bats following him, tears staining his cheeks and a silent scream coming from his mouth.
CAPTION:I run. For the first time since I was a child I am running out of fear.


Panel 2: Looking down on Batman, he sits on the ledge of a building where an Air conditioning unit and TV antenna can be seen. He supports himself with his arms. The rain pelts his cape. Down below we can see the city street going about its daily business.
CAPTION:Fear of what I’ve become.
CAPTION:Fear of what I’ll continue to do.

Panel 3: Looking up at Batman from below the ledge. His hand grips the ledge but the only detail we can see is the piercing white eyes. The rain obscures much of our view.
CAPTION:I don’t even know how I got to this point.

Panel 4: A smaller panel. Closer on Batman where he now fills the whole panel. His eyes still hauntingly white, his somber grimace.
CAPTION: Too far gone. No longer viable.

Panel 5: Another small panel on the bottom corner of the page. An extreme close up on Batman. His mouth hanging open, trying to breath. His eyes, no longer white, but human, fragile and saddened.
CAPTION:No longer capable of continuing my mission.


PAGE 5 (7 Panels)

Panel 1: This should be a long horizontal panel where Batman stands up on the ledge and we can see his entire body. We look at him from across the gap of the building. He hangs his head low.
CAPTION: How did it come to this?

Panel 2: Same size panel next to panel 1. Same full body shot of batman. He takes his cape off, pulling it away from his shoulders.
CAPTION: How did I get here?

Panel 3: Same size panel. Batman’s cape is now dangling on the ledge as he takes off one of his boots.

CAPTION: Was it inevitable…

Panel 4: Same size panel next to panel 3. Batman’s boots are now laying on the roof, his cape still hanging on the ledge. Batman is now taking his chest piece off over his head. The rain still coming down hard.

CAPTION: …that I would turn into the one thing I promised I never would.

Panel 5: A square panel under panel 1&2. Close up of Batman, from his chest up. He is taking off his mask. Tearing it away from his face.

CAPTION:Have I turned into the thing I fought so hard to get rid of?

Panel 6: Next to Panel 5 under panel 3 and 4. We are looking down over Bruce Wayne’s shoulder as he holds his other half, delicately in his hands.
CAPTION: Do not cry for him. Do not cry for me.

Panel 7: This panel takes up the rest of the page. From below again we are looking up. Bruce Wayne is on the eldge his hand extended out like he released a bird to the wind and his mask plummets to the ground. It is the main focus of the panel.

CAPTION: This is the life we chose. And this was always the end.

[Red Fox]

PAGE 1: 5 PANELS

Panel 1: Wide angle shot of the gleaming, majestic skyline of Metropolis at night. It’s an elegant city of art deco architecture, bright gleaming lights, and polished building facades. It radiates like the bright center of the universe.

CAPTION (PAPER AND PENCIL. HANDWRITTEN)
Life long residents like to say that Metropolis is a city without shadows.

CAPTION
Well, dear readers, I beg to differ.

Panel 2: Angle on a beige sedan parked on a city street in front on apartment building that seems to have been chiseled out of solid granite. The sedan’s headlights are off and it sits silently.

CAPTION
There are plenty of shadows to be found in the nooks and crannies of our fare city. And we’ve found someone sinister lurking within them...

Panel 3: Angle inside the car as Lois Lane sits in the passenger seat, scratching her head in defeat. In the driver's is Jimmy Olsen, snapping pictures on his Nikon camera.

LOIS
Jesus, I sound like I’m writing a ghost story.

JIMMY
I thought you were.

SFX
Cl-Click

Panel 4: Angle inside the car from the backseat. We look out through the windshield as a uniformed officer approaches. Jimmy and Lois frame the shot.

JIMMY
I mean, that was some pretty creepy stuff back there. Gave me the willies, that’s for sure.

LOIS
Alright, pipe down. Here he comes.

Panel 5: Low angle shot inside the car looking up at the passenger side window. The square-jawed cop leans in. Lois’s face is in the shot, coolly handing the officer an envelope.

OFFICER
He’s on the second floor. I left the back entrance open for ya’s. Ya sure you want to go up there, Ms.Lane?

LOIS
Don’t worry officer, I’ve got my bodyguard here.

LOIS
Mr. White says thank you as always.

PAGE 2: 6 PANELS

Panel 1: Angle on Lois and Jimmy as they reach the top of the stairs and make their way through the dark hall.

LOIS
I can hear your teeth chattering. What would your hero say?

JIMMY
H-he’d say go home.

JIMMY
What in blazes are we doing up here Ms. Lane? P-personally, I don’t care who this guy is. Better to mind our own business.

Panel 2: Angle on Detective Dan Turpin and Captain Maggie Sawyer as they turn toward Lois and Jimmy. The two police officers are furious. Behind them are several Metropolis SWAT members guarding the door to an apartment.

TURPIN
Aw, damnit, Lane!

SAWYER
What is she doing here?! Sergeant, take her down stairs!

Panel 3: Angle on Lois and Jimmy as they are dragged by two hulking SWAT members toward the stairs. Lois fights back, angry at the onslaught. Jimmy is snapping pictures.

LOIS
This is the thanks we get for breaking the story, Turp?! He’s got another one in there, doesn’t he!!

SFX
Cl-Click Click

Panel 4: Close on a cigarette as a Zippo lighter slowly burns the tip.

JOHN CONSTANTINE
She the one, detective?

Panel 5: Angle on John Constantine as he closes his zippo lighter, cigarette hanging from his mouth. He motions with his other arm, as if to invite someone in.

JOHN CONSTANTINE
And the boy took the pictures too, I’m guessing. Ballsy. Real ballsy. Come on, let’s have a look then, shall we?

SFX
Flink

Panel 6: Angle as Constantine walks away from us toward the apartment door. Sawyer grabs him, pleading for his rationale in inviting Lois in.

SAWYER
Are you crazy? Lane’s a rat.

JOHN CONSTANTINE
Maybe, Captain. But if it’s a story she’s after, I’ll give her one she won’t want to remember.

JOHN CONSTANTINE
Leave the camera at the door, will you?

PAGE 3: 7 PANELS

Panel 1: High angle shot inside the apartment as Lois, Jimmy, Constantine, Turpin and Sawyer stand around a gray, emaciated body that has shriveled with hollowed eyes.

LOIS
What is that?

JOHN CONSTANTINE
It’s called a corpse. Or as Ms. Sawyer would call it, a lead.

Panel 2: Angle on Lois with a blank expression on her face as Constantine takes out a small gold pendulum from his trench coat.

LOIS
I’ve never seen a corpse like that.

JOHN CONSTANTINE
You’ve never seen a lot of things.

Panel 4: Angle on Constantine as he swings the small gold pendulum, dangling from a gold chain, over the face of the corpse. A white mist begins to rise from the corpse’s mouth

JOHN CONSTANTINE
Nastere spirit. iti umple nava si sa ne mai cunosc suferintele.*Perfect Romanian Dialect*

Panel 5: Angle on the corpse as it sits up in a trance. It begins to spew some chant. Constantine feverishly scribbles it down in a note pad.

CORPSE
A nenorocit este intr-o biserica la Siegel. El are in cartea cu el. Fi atent.

Panel 6: Close on Jimmy and Lois. They stare with open mouths.

JIMMY
Holy shit. I mean....sorry.

LOIS
No, shit’s an appropriate response.

Panel 7: High angle on Constantine as he looks up toward Turpin. The corpse still sits up next to Constantine.

JOHN CONSTANTINE
There a church on Siegel, detective?

TURPIN
Yeah, why?

JOHN CONSTANTINE
That’s where we’re headed then.

PAGE 4: 6 PANELS

Panel 1: Wide, high angle shot of an old cathedral at night.

NO COPY

Panel 2: Angle at an entire unit of Metropolis SWAT geared up and ready to storm the church, which we can make out just around the corner. Turpin and Sawyer give their final commands. Constantine stands off, his back to the rest of them, staring at the church. Lois tries to plead her case of getting to go in with the team. Jimmy huddles off to the side.

SAWYER
Entry will be through the front. Baker, you and Turp lead your squad to the rear. McEllroy, your team will enter through the monastery. We wait for his signal. His signal only.

LOIS
At least let us up to the corner, Maggie.

SAWYER
No discussion, Lane. Ready?

Panel 3: Close on Constantine as he flicks his cigarette away.

JOHN CONSTANTINE
Sure thing.

Panel 4: Angle from behind Constantine as he walks up the front steps of the cathedral. He’s reaching out as if he’s about to knock on the cathedral’s heavy doors.

NO COPY

Panel 5: Wide, high angle shot looking down on the cathedral as a massive explosion of green flames blast through it. The doors, window, even the bell tower, shoot out the bright flash of green flame.

SFX
KA-BOOM

Panel 6: Close on Lois and Jimmy as they both peer out from the corner of a building. Their faces are bathed in the green light from the explosion.

JIMMY
Holy-

LOIS
-Shit!

PAGE 5: 5 PANELS

Panel 1: Angle on Constantine as he sails through the air, rocked from the explosion.

NO COPY

Panel 2: Angle on SUPERMAN as stands heroically, catching Constantine as he sails toward him.

JOHN CONSTANTINE
HUK!

Panel 3: Angle on Constantine and Superman as Superman gently sets him down.

JOHN CONSTANTINE
Aw, bloody hell. I was hoping to keep you out of this.

SUPERMAN
Yeah. No.

SUPERMAN
Why are things blowing up?

Panel 4: Angle on Constantine as he calmly lights a cigarette with his Zippo lighter.

JOHN CONSTANTINE
Well, to put it lightly, you have a necromancer sucking out the souls of your citizens.

SUPERMAN
Again?

Panel 5: Wide angle shot behind Constantine and Superman as a massive, dragon-like demon emerges from the green flames of the cathedral debris, spreading it’s wings like a horrific bat.

JOHN CONSTANTINE
Yeah, well, this one can conjure demons.

SUPERMAN
Wonderful. Shall we?

JOHN CONSTANTINE
You first.

-End-