Molecule Man – Trial and Errors – Ryan K Lindsay

1. We see a house, not unlike any other house, it’s just one in a suburb. The suburb looks neat, but empty.  The houses are shells, there’s no life here. Clean, crisp, cookie cutter. This is a tall, rectangle establishing panel on the left with two thin panels sitting on the right of it, should take up half a page. We should be able to see a woman standing in the window in silhouette.

Owen Reece: You wouldn’t think it would be so hard. An infinite power should present infinite possibilities.

2. Reece is sitting in a lounge chair, he looks pretty relaxed, he’s slightly younger, this is taking place in his time in exile.

Reece: But that also means an infinite amount of possible errors.

3. Reece is talking and pointing all around him at items in the room. Fill the room with whatever you like.

Reece: Can you imagine what it takes to make absolutely everything around you? It takes the powers of a god but the patience of something much stronger.

4. A wide panel of Reece walking to a table. There is a hat on it.

Reece: Everything, everything, is constructed by me. Maybe even from me.
Reece: I can’t guarantee exactly where those before you came from, but as you look around you can see where they are now.

5. We see the female in the room with Reece. We don’t see all of her, but she seems nice enough. She’s wearing a deep blue sweater and has a nice swirly orange scarf on. If orange doesn’t match with blue then take it up with Reece, he’s the idiot who created all this. The chair he was sitting on before is in the background.

Reece: The very first man I made became that chair I love so much.
Reece: The last girl I tried is now in the kitchen, pretty funny when you think about it.

6. Reece is walking towards the girl with the hat in his hand, he’s sort of reaching it out towards her.

Reece: All I want is a perfect creation to hang my hat on, metaphorically.
Reece: So, until then, I’ll hang my hat on you.

7. Reece is walking away and his hat now sits on a coat rack that stands where the woman had been. The coat rack is a deep blue and there is an orange sweater on one of the hooks.

Reece: Literally.
Reece: …
Reece: Que sera.

This scene takes place in the other-dimensional world that Uatu, the Watcher, confines the Molecule Man to after his defeat at the hands of the Fantastic Four.

We know that while there he created a person who he somehow imbued with consciousness, and that this person eventually went on to believe he was the son of the Molecule Man. I figure he probably had a few cracks at making a person to live with before that one, and let’s be honest, why wouldn’t you make a few women to live with.

And if it doesn’t work out then just hat rack them.

I bet he probably made a dog too but eventually turned it into a tv or a beer fridge, man’s true best friends.

Molecule Man - The MoleCool Man - Ben Rosenthal

The following takes place after Dark Avengers 12. Owen Reece, aka The Molecule Man has been disintegrated by The Sentry in a small town in Colorado.

1. Inside your typical Texan diner. Two figures sit at a booth, the dry environment outside visible from a large window. We see Owen Reece, aka The Molecule Man in a booth. We are looking at Owen over the shoulder of a man’s silhouette. A mug holding some tea is placed just in front of the stranger on the table. Owen is clasping a mug of his own with two hands. He is staring at the table, but at the same time looking at nothing at all. A blank expression covers his face.

OWEN
How is your tea?

STRANGER
Nice. Gone a little cold though.

2. Owen’s gaze shifts from the table to the cup of tea in front of the stranger.

3. Steam begins to emit from the cup of tea, as it has been heated.

STRANGER
How did you do that?

OWEN
I shook the water molecules in the cup so they would heat.

STRANGER
You can shake molecules?

4. Owen returns his gaze to the same spot on the table.

OWEN
Shake, reform, manipulate. You may see a wooden table in front of us. I see millions of molecules, made up of six carbon, ten hydrogen and five oxygen atoms all held together with hydrogen bonds. Take away some atoms, and this table that you’re resting your tea on is water. Even looking at you, all I can see is a complex molecular structure.

5.Owen looks up at the stranger.

OWEN
Your thoughts and emotions are all controlled by the hormones coursing through your body. Hormones made up of molecules.

(a break in the speech bubbles here).

OWEN
I can do anything with them. People, cities, “super heroes” – they’re all just molecules. And I can control it all.

STRANGER
Awesome.

6. Owen returns to his thoughts, his gaze once again finding the spot of nothing on the table.

OWEN
God I’m bored.

STRANGER
So that’s why I found you naked in the desert?

OWEN
I’d just finished reforming myself at a sub-molecular level.

7. The panel now switches, so we are now looking over Owen’s shoulder, and can see the stranger with whom he has been talking. It is Deadpool.

DEADPOOL
Well, how about next time you reform yourself some pants?

8. We are back to looking over Deadpool’s shoulder, at Owen. He looks up at Deadpool, this time with a half smirk on his face.


The rest of the story is a “Buddy Road Trip” type of story, as the two travel through America. I just really like the idea of a person with God-like power being bored out of his brain because of them, and an invulnerable out of his mind assassin on a road trip.

Iron Man - Stark Naked - Max Barnard

The premise: Yeah you groaned at that title. You really don't need much to understand this one-page abomination, other than the fact that Tony Stark gets more than his fair share of sexual conduct, and that no-one loves to attempt to torment whorish lotharios more than the recluse (in this instance myself). The page can either stand by itself as here, or you can look at it as part of a larger story that could have been told. Oh, and it is entirely out of continuity, just a story that may or may not have happened at any point in time.

------------------------------------------------------------------------

Page One - 5 Panels - Widescreen - Equal Size

1-- We open on Tony Stark in a fancy club of some description (think an elegant, well-lit mansion, the sort of place you'd see people in fine dresses and suits dancing across the ballroom floor), suited and booted, leaning against a heavily-stocked bar, observing all the women presumably dancing outside the panel with a lecherous gaze, nursing a (non-alchoholic) drink. Next to him is an unconscious, drooling mess face-down on the counter, who if conscious would introduce himself as one Happy Hogan. Also, it is imperative that Tony has a briefcase on the bar's counter in both this panel and the next, as a small piece of continuity for the story.

NARRATION BOX/DESCRIPTIVE - 9:17pm

NARRATION BOX/TONY STARK - When you've gone through as much I have... And as many women as I've gone through...


2-- This panel is probably best left framed the same as the previous, as little has changed. The major differences between the previous panel and this one are that Tony Stark is now talking to a red-headed woman who is now sitting next to him at the bar, and that Happy Hogan is now sliding to the floor in his paralytic state. The lady's looks are an important factor in this panel, with her being a red-head who looks similar to both Pepper Potts and Black Widow. She is toying with her hair, twisting it around a solitary finger coyly as Tony is chatting her up. As a small element, Tony's tie should be loosened some now, as a visual cue that he is relaxed and in his element. Again, the briefcase is on the bar counter, unmoved.

NARRATION BOX/DESCRIPTIVE - 9:21pm

NARRATION BOX/TONY STARK - ... Everything tends to blur together. I struggle to tell apart half the people I've dealt with,


3-- We finally get to change the scenery here, moving to a hotel room. I'm going to have to be quite adamant about the framing here, if only because I am wont to do such things on occasion. The panel should have Tony Stark kissing the neck of the previously seen red-head with a passion at the far right of the panel, with her pressed against the hotel room's door, head turned toward the reader, with a disgusted sneer on her face. Ideally this shot should only go from the top of her head down to her cleavage, which should leave a sizable empty space in the rest of the panel. Not that it has to be completely empty, I mean this is a hotel room, it would have some amenities. Perhaps another open door in the background leading to the en suite bathroom, or a generic framed sunset or some such against the wall. The important thing is that it doesn't draw the eye at all away from the scene at the far right.

NARRATION BOX/DESCRIPTIVE - 9:33pm

NARRATION BOX/TONY STARK - Which can lead to any number of mistakes, let me tell you.


4-- Something a bit more detailed yet still simple enough here (in concept anyway, I'm not an artist so I can't judge), so I'll try and be straightforward as possible (also this panel may need to be larger than the others just because it's got a fair few more text boxes). This panel is in the same hotel room from before, now viewed from the bed out towards the rest of the room. Details of what's in the room and where are entirely unimportant, outside of keeping the continuity established in the last panel. However, we will now see two more items in the room we couldn't really see in panel 3. These items are Tony's Briefcase (see, I was going somewhere with it having to be in panels 1 & 2!), probably best placed somewhere on the floor, considering Tony won't have really thought where he was tossing it whilst dragging the woman to the hotel room, and a dresser against one of the walls, with a note on top of it. Tony Stark himself is sat up in the bed, hand against his head, looking out into the room. He's not hungover of course, but having him nursing his head creates a good image in the mind of what crazy-awesome things he's exhausted himself doing last night.

NARRATION BOX/DESCRIPTIVE - 11:49am

TEXT BOX w/ ARROW at NOTE ON DRESSER/DESCRIPTIVE - Note declaring revenge against Stark for previous transgression, noting stolen clothes and possible transmission of a sexual disease. Includes name that draws blank.

TEXT BOX w/ ARROW at BRIEFCASE/DESCRIPTIVE - Briefcase containing Iron Man armour, presumably left behind because it didn't factor into revenge plans.

NARRATION BOX/TONY STARK - Most of the time all I get are people trying to get revenge. But no matter what...

[Aside: to say I struggled with panel 4 is an understatement. How would YOU script a text box with an arrow pointing at something and describing it?]


5-- I'm not gonna lie, this is technically two panels, but one is in the other so I'm calling it five to pretend I ever had a clue what length this page was going to go. The main panel is just Iron Man flying through the air. The inset panel is Iron Man sliding open the large balcony window of the hotel room to take his leave.

INSET SFX - SKRRSH

INSET NARRATION BOX/DESCRIPTIVE - 11:52am

INSET NARRATION BOX/TONY STARK - But no matter what...

MAIN NARRATION BOX/TONY STARK - I'm always prepared. For anything.

SPEECH/IRON MAN - Oof, that's uncomfortable.

MAIN NARRATION BOX/TONY STARK - Except for the chafing, obviously.

Iron Man - A Religious Experience - Brandon Whaley

This page would be set up as seven panels: two rows of three and a larger seventh panel at the bottom of the page.

PANEL 1:

We see a savannah from a distance. The wind is blowing across the plains.

CAPTION 1: “Something like this could only happen to me.”

CAPTION 2: “It's happened to me several times.”

PANEL 2:

Another shot of the savannah, this time a bit closer up.

CAPTION 1: “Well, to be fair, its happened to Victor von Doom as well. I'm sure he's still around somewhere.”

CAPTION 2: “I no longer care.”

PANEL 3:

We see a shot of a cheetah taking down a gazelle. It rips its claws into the animal and shreds its flesh.

CAPTION 1: “The year is 1863. The British still rule India.”

CAPTION 2: “I left that place a few months ago.”

PANEL 4:

This time we see savannah again, and to the left a small grove of trees. Beyond them in the distance are what appear to be huts of some sort.

CAPTION: “I've been here about 11 months, give or take. I honestly don't count anymore.”

PANEL 5:

We see the same huts, but from a closer vantage, as if we are approaching them. They are obviously very primitive, being made of straw and mud.

CAPTION 1: “Back in the present time I was a drunk, a nobody. A very rich nobody, but that just enabled me.”

CAPTION 2: “But here...here I'm something more.”

PANEL 6:

We zoom in close on the village. They huts are arranged vaguely in a circle. There seems to be an unnatural glow coming from the center.

CAPTION 1: “I've never been a religious man, but I've fought alongside Thor for years now. Never understood the significance.”

CAPTION 2: “But now...now I understand how it feels...”

PANEL 7:

We see the center of the village and the source of the glow. Tony Stark, in full Iron Man armor, is floating a few feet off the ground. Surrounding him are 20-30 natives, all of which are bowing prostrate facing Tony.

CAPTION: “...to be a god.”

Title across the bottom: A RELIGIOUS EXPERIENCE

OK, please keep in mind that I've never in my life written in anything other than prose form. This whole "script" format is fresh to me. That's the point of this site, though, to fine-tune the craft, eh?

Iron Man - Empires - Matt Duarte

The Invincible Iron Man in "Empires" by Matt Duarte

This page is to be laid out in six panels, two columns by three rows. The first four are all set in a nebulous past, not specific to any time period, but just in the general past where Iron Man is still wearing a pre-Extremis armor, though his identity is publicly known. The last two panels are set in a more recent and specific time, which should be made clear by what's going in them. Panels 1, 4, and 5 are supposed to resemble each other, while panels 2, 3, 6 are also similar, making a > and < figure respectively.

Panel 1

Description: Iron Man is standing all by himself, with one arm raised and clearly aiming at something (looking towards the right of the page, we can see his whole body). There's determination in his eyes (which we can see through the armor), as well as in his body language, somewhat threatening but still confident as Tony Stark is wont to do. He is inside one of the many bases of the Mandarin, and it is full of colorful traditional Chinese art hanging in the walls, ornate vases and imposing wide columns. The color of the room actually matches the gold and red armor that Iron Man is wearing.

IRON MAN: Give it up, Mandarin. You are done, and your criminal empire is going down.

Panel 2

Description: A close up on the Mandarin (we can only see his head and shoulders), slightly bruised, he has just received a beating from Iron Man. He is in the same room as before, opposite from Iron Man, who we can't see in this panel. He is looking towards the left of the page, so that he is facing Iron Man from the previous panel. He is wearing his typical green and yellow long flowing cape, and his traditional fu manchu, which looks slightly disheveled.

MANDARIN: So much bravado, so much swagger, but for all your technological know-how, you are still as ignorant as a plebeian.

MANDARIN (lower bottom of the panel): All empires fall, Stark.

Panel 3

Description: A close up of Iron Man, meant to be similar to the previous panel, we can only see the shoulders and head of Iron Man. Through his armor we can see Tony Stark's eyes, not as determined as before, but more puzzled by the words coming from the Mandarin. Still in the same room as in Panel 1, and still looking in the same direction, towards the right of the page.

MANDARIN (off page): It is what empires do, they fall, they crash, and they burn. They disappear, are forgotten into the ether... and ultimately, they rise again.

Panel 4

Description: Mandarin is now sitting in the floor, with his legs crossed in front of him. His arms are also crossed, with his hands touching at the thumbs the palms towards his chest, all his fingers extended and they are full of rings (it looks like a "W", the way you would make a bird out of your hands). Despite the beating he just got, he now looks confident, with malice in his eyes and venom in the words coming out from his mouth. This scene is still set in the same room as the previous three. He is about to perform a vanishing act with his rings, though Iron Man doesn't know that. His body looks somewhat translucent as he is about to make his exit, and just like in panel 2, he is looking towards the center of the page.

MANDARIN: The real trick, what takes years of knowledge and study, is for the emperor to be intelligent enough not to be dragged down by his falling empire. I am sure than in due time, you too, will know what that is like.

MANDARIN (lower bottom of the panel): Farewell, Stark...

Panel 5

Description: This panel and the next one are set in the recent past, immediately after Secret Invasion. The scene is set inside what used to be Stark towers, though now it is in control of Norman Osborn. Norman Osborn is wearing a black three piece suit, he is standing behind a desk with his hands on them. The room has a huge window behind him, but is otherwise pretty empty. He has just been instated as head of H.A.M.M.E.R. and he believes himself unstoppable. He is mildly exasperated, looking towards the right of the page.

NORMAN OSBORN: Stark! Please, pay attention! I am trying to savor the fall of your empire as much as possible, and I can't do that when you clearly have something else in your mind.

Panel 6

Description: A close up on Tony Stark (we can only see his shoulders and face), this time without armor, just a dress shirt sans tie and the first two unbuttoned buttons. His hair is not very slick, and he is sporting a five o'clock shadow besides his normal facial hair. He has just lost his position as the head of S.H.I.E.L.D., and even though he clearly is having a bad day, he is smirking at Osborn's choice of words, which interrupted his trip down memory lane.

TONY STARK: Just thinking about empires, Normie. Just thinking about empires...

The End.

Iron Man - Autograph - Rol Hirst

Panel One.

Long shot. Interior. An exclusive Manhattan bar. Tony Stark sits alone drinking Ginger Ale. He's lost in a million thoughts. Off camera, a woman approaches... (Her shadow falls over Tony?)

Woman: Excuse me...?

Panel Two.

Tony turns to face the woman. A gorgeous brunette in a dress to die for. Vamp-central. Femme-extra-fatale.

Woman: Tony Stark?

Panel Three.

Close on Tony, smiling at the woman, raising an eyebrow Roger Moor-style... while his thoughts go into overdrive.

Tony (thinking - small letters jumbled together to represent Tony's superfast thought processes - certain words stand out in larger font): THREAT analysis? Unknown assailant. No visible weaponry. Does NOT appear HOSTILE. Then again, neither did WHITNEY FROST or KATHLEEN DARE... or WANDA. (BTW, must remember to get that waitress's phone number.) Projecting 4... no, 5 hand-to-hand combat scenarios even if she's Taskmaster-trained, can also be suited up in under 2.7 SECONDS if required.

Panel Four.

Tony's on charm offensive. The woman vamps and asks for his autograph. Tony reaches inside his jacket pocket.

Woman: Mr. Stark, I'm a huge fan. I wonder if I could have your autograph...

Tony: Tony, please. And of course. I always keep a few spare--

Panel Five.

He produces a signed photo from his pocket and offers it to the woman with a grin. A smarmy corporate mugshot, already signed.

Panel Six.

The woman smiles back politely, then starts to unbutton her blouse. Tony is shocked (in an amused way). He takes his pen and moves in to sign her boob.

Woman: Oh, but I'm sure there are millions of 8x10 glossies out there with your signature on, Tony... I was thinking of something a little more personal...

Tony: Well, when you put it like that...

Panel Seven.

Suddenly, the Iron Man armour forms itself around Tony, preventing him from signing the breast. As the mask is the last thing to move into place, we can still see his surprised expression. The woman steps backwards, surprised also.

Tony (more crammed, superfast thinking): Suit's remote CHEMICAL ANALYSIS reveals combination of ink on skin would lead to organic synthesis 2(CH3)3SiCN + H2O → (CH3)3SiOSi(CH3)3 + 2 HCN Product - HYDROGEN CYANIDE. Headache, nausea, vomiting, convulsions, loss of consciousness (pity, she's CUTE - sigh, the insane ones always are), respiratory failure, DEATH.

Panel Eight.

The woman freezes, knowing the game's up. Iron Man trains his repulsor on her like a gun.

Iron Man: I'm sorry, ma'am. Hammer, Stane, Osborn... Tell whoever you're working for - nice try.

Iron Man: Hazmat units are on their way, estimated response time 1 minute 13; satellites are tracking your position from 47 different angles... Can I trust you to wait here while they arrive?

Woman: Y-yes...

Panel Nine.

Exterior. Tony jets away from the bar (it's called Layton's), leaving the dazed woman standing in the doorway as police cars screech to a halt in the street outside.

SFX: (Sirens) Whoooeeeeeoooooowwwwww!

Tony: Sorry I can't stick around for the fight scene, but I've a board meeting in five, the Avengers need me in the Negative Zone at 6, then I'm on Letterman later, if I get back in time.

Tony: You have a nice day now.

Tony (thinking): Sigh. They always go for my WEAKNESSES...

Iron Man - Life of the Party - James McNeill

(For context -- earlier on in this imagined issue, Tony as Iron Man prevented a lone robot from destroying the home of a business acquaintance, who had invited him earlier to a party. Back at Stark Enterprises, a small group of them have attacked Tony's labs, and Pepper Potts is on the scene.)

1. Tony Stark socialises at a swank party. He has a drink in one hand, almost empty. Though he's talking to an attractive woman, he looks at Happy Hogan, who stands in the background, waving him over.

WOMAN

...sure your bodyguard can't join us today?

2. Tony puts down his empty glass, Happy behind him. Tony looks apologetic. He is speaking to the host of the party.

TONY

-- very sorry. Business calls.

3. Outside, Tony climbs into the back of his car, waving, still smiling. Happy holds the door. In the far foreground, a man makes a phone call.

4. Inside the car, his entire demeanor changes. He slumps in his seat, undoes his tie.

HAPPY

Sorry to drag you out of there, boss, but Pepper said it was important...

5. Happy looks back, concerned as Tony raises the divider between front and back of the car.

HAPPY

Boss?

6. Tony pulls off jacket, shirt, and tie, revealing the chest-encasing underneath. His posture is tense; he's in pain. Next to him, covered partially by his jacket, is the Iron Man briefcase. Tony's sweating, reaching the end of his charge. He picks up his helmet to put it on.

TONY

Just drive, Happy.

TONY

I need a drink.

(To give you an idea of the rest of the story: the cover probably has a whole army of robots attacking Iron Man, who is of course hardly able to stand up straight, with some mysterious villain's silhouette in the foreground. "YOU'LL NEVER SAVE THE LIFE OF THIS PARTY NOW!" the villain cries.)

Iron Man - The Armory - Simon McDonald

1. Establishing shot. We're in Pattaya, Thailand, midday, the sun shining down, looking at the rather uninspiring edifice of the go-go bar THE ARMORY. A man clad in a white suit - his back to us, his identity unknown - is stepping through the door.

CAPTION 

This guy is going to be trouble.

2. Inside THE ARMORY. We're viewing this from behind DUANE CHERCOVER; he's standing to one side, allowing himself a nice outlook of the joint. From what we can see of the guy, he looks like your archetypal dumb-muscle - shaved head, bulging biceps - the kind of guy you don't want to mess with. His arms are folded and we can't see his right hand. THE ARMORY is your standard setup; a bar, a stage - where girls clad in bikini tops and hot pants are dancing - and a viewing area in front of the stage. What sets the joint apart from its competition is its theme - armor. Restorations of medieval knight armor, statues of Iron Man armor, even Dr. Doom's armor - pay homage to as many identifiable armors as you wish - they all adorn the walls. The place is half-full - a decent patronage for this time of day - and most of the patrons are dressed in t-shirts and shorts; which makes the mysterious fellow in the white suit all the more conspicuous, halfway between the entrance and the bar.

CAPTION

And trouble is something Mr. Albion likes to avoid.

It's my job to ensure that every gentleman who enters this establishment isn't going to cause trouble.

I size 'em up. Every guy who steps through that door . 

And if he's too drunk - if he's too belligerent - if he's going to be a problem - I get rid of him.

3. Focus on the girls on the stage, in the midst of their routine. Men watch them, entranced by their movements, alcoholic beverages in hand.

CAPTION

You can watch Mr. Albion's girls. 

You can buy 'em a drink. 

You can chat to them out here or in one of the back rooms. 

Hell, you can pay the fee and take them out for the night - for the week, if you've got that kind of cash.

4. Our first proper look at DUANE. He's glaring at White Suit, who is chatting to the bartender a couple of  feet away, seated on a stool. Our earlier assessment is correct; DUANE'S a tough looking dude, but there's intelligence behind his eyes - he's not quite the dumb muscle we might've thought. His arms are still folded, right hand still hidden.

CAPTION

But if you hurt them - if they come back damaged - you'll have me to deal with.

And I'm bloody good at my job. 

Got the SAS to thank for that. 

And if those particular talents don't do the trick - -

5. DUANE unfolds his arms - and finally we see his right hand, on which he's got an Iron Man palm gauntlet, maybe not quite as streamlined as the real Iron Man's, but intimidating nonetheless. 

CAPTION

- - there's always the more extreme method.

6. Pull back. DUANE heads for the bar, towards White Suit. His gauntlet glove is GLOWING, prepped to fire.

CAPTION

Mr. Albion, he cares for his girls. Likes to see 'em smiling. Enjoying their profession. Which is why he employs me. To keep the riffraff away.

7. DUANE places his left hand on White Suit's shoulder.

CAPTION

This man - this man could certainly not be classified as riffraff. 

But he's trouble. I know he is. 

Knew it from the moment he stepped through the door.

8. WHITE SUIT turns his head - revealing himself to be TONY STARK, smiling, at ease.

CAPTION

And for the first time ever - - 

- - I've got no idea how I'm gonna deal with it.

TONY STARK

Ah. Maybe you can help. I'm looking for a Mr. Albion.

And there we have it, ladies and gentlemen;  a teaser to a done-in-one issue I plotted out entirely. Too many panels and too much text? Too much exposition? Critique away!  All commentary is welcome here at thoughtballoons!

Iron Man - The Mask in the Iron Man - Ben Rosenthal

TONY STARK and PEPPER POTTS have just finished ‘expressing’ their feelings for each other, in the naked way. Pepper rolls to her side of the bed, as we look down on the two exhausted individuals lying COVERED in bed. Pepper is giddy, Tony's wrist resting upon his forehead as he stares at the roof with a distant look on his face

PEPPER: That, Mr Stark, was your best performance yet

TONY (obviously not as satisfied as Pepper): Glad I could rise to your expectations

PEPPER (picking up on Tony’s non-plusness): What is it?

TONY (realising he is not in the moment snaps back to reality): Oh no, it was great, you were great. I didn’t know you were double jointed...

PEPPER: So great that you couldn’t help but look bored straight after? Was I that bad?

TONY: No, it wasn’t you, I was just thinking about.....nothing

PEPPER: Nothing?

TONY: Nothing.

PEPPER: You’re Tony Stark. You’re always thinking something. If I was that bad you can just let me know, I mean I’m not Madam Masque but I could grab some tin foil and...

TONY: I was thinking about my father

Silence as both Tony and Pepper think about this statement.

PEPPER: Ew

TONY: Not like that.

PEPPER (smirking at making Tony uncomfortable): Like how then?

TONY: Where do I start? We could skip all the “he was to interested in his work to pay any attention to me” part of the conversation, not to mention the whole “I became great with machines to get my father’s approval” section, and go straight to – I think my father created Iron Man

PEPPER (confused): I don’t want to sound insensitive as you’re obviously having a post-coital moment, but huh?

TONY: He may not have made the suit, but I was already Iron Man long before it came along. My father never gave me the attention I craved so badly from him, never showed the affection I needed. I turned to machines in order to gain his approval, but I think I a part of me found them so appealing because they are emotionless.

PEPPER’s smirk fades as she realises that TONY is being serious

TONY: They can never judge you, never make you feel inferior. There was never a threat of rejection with machines as there was with people. As such, I became comfortable, enjoying the company of machines over real people. (Turning to PEPPER) Or have you never noticed that a multi-billionaire in his 40’s only has one friend, and has had just under that number of serious relationships.

PEPPER looks at TONY, looking at the man she has known for years, but is only seeing for the first time. TONY returns his gaze to the ceiling.

TONY: I have always been a man of iron. By keeping all relationships plutonic, I prevented anyone from ‘getting in’, protecting myself so I would not fall short of someone else’s idea of what I should be. Thanks to my father, I have always been Iron Man – the shrapnel just gave me an excuse to make it official.

Iron Man - Murder Calls For The Iron Man - Ryan K Lindsay

1. Tony Stark sits on the bench in his living room, his sleeves are rolled up, his tie is loosened but still tied (not a bow tie either, I want a real tie). There are empty bottles on trays, a pretty girl asleep and facing away from us on the far end of the couch. There are a variety of party-goers littered in a cordon around the room, standing and sitting. His drink is just near his lips.

Tony: It’s a funny thing that people think I’m just some drunken boob when I’m not covered in an alloy.
Caption: He’s drinking Shirley Temples; only a few would know that.
Caption: I’ve been behind this curtain, though. Many times.

2. Tony is pouring more vermouth (or so it would appear) into his glass, he looks laid back, but the smile is most certainly gone.

Tony: And I might just be, but with my levels of money I’m the most powerful drunk you’ll ever meet, so no one leaves this room until I find out what happened.
Caption: I know what happened.

3. Tony walks over to the sleeping girl on the end of the couch and we see that half her face is singed off, a repulsor ray has gone straight across her head. Tony’s back is to most of the crowd, and he does not look happy at all.

Caption: I saw it all. I could speak up but what would then stop her from killing me?

4. Tony has turned around and is throwing his glass down on the ground, his face is pure anger. We see a discarded Iron Man wrist and hand set, kind of like a gauntlet, alone on the floor, discarded, pushed away once its use was accomplished.

Tony: This does not happen in my house. This does not happen with my things!
Caption: She didn’t need the glove to get the job done; I know that much. She could handle me quite easily, maybe even Stark himself outside of his suit.

5. Tony is picking up the gauntlet.

Tony: Someone in this room’s laughing at me. Someone’s laughing sick and I just won’t stand that.
Caption: He’ll have to do it quickly because I’m pretty sure the bomb attached to my thorax is going to go off no matter what he finds out.

6. We see a pretty young girl, black hair in a sort of middle-part flick, like Vera Farmiga in Up In The Air. She is sitting back in the couch among the other guests and she looks sad.

Caption: I’m going to die tonight, that’s for sure, it’s simply a matter of how many I take out with me.
Caption: I don’t want to kill anyone, but that little part inside me does. It’s tricky fighting a war within yourself. You’re always going to lose.

This would be the very first page of a new issue of a new arc. It puts Tony Stark in the spotlight and leads the story into a more procedural, nourish, territory. Something just a little different, something stand alone.

I figure the next page would be a half splash page of an exterior shot of the house, cars parked outside, the sun just on its last setting legs. It’s a laid back Silver Age feel through sepia tones. We get credits.

Tony Stark in ‘Murder Calls For The Iron Man’

The bottom half of the page would have Tony putting on the gauntlet and pouring another drink. The inspector is settling in. Then we make with the inevitable flash back. We need to find out more about this mysterious lady/ladies on his couch…

Why Iron Man?

It’s hard to know where to start in a venture like this. We want to write short, punchy one page comic scripts about a different comic character a week. We know this isn't art, and so it's harder for people to sit down for longer than 3 seconds and appreciate, or even critique, our work. We know we're asking a lot of you but we've tried to streamline everything.

It is only a one page script. Have you ever read a script before? It's easy, half the page is lost in empty formatting. And it's not even a total issue, it's just on page. That's all we're asking of you. There are 9 of us and 7 days in the week, you won't be hit up too often, but we hope you will enjoy what we hit you up with. Then, there's the decision of the first character.

Do you go in for the obvious and add to the many Spider-Man, Wolverine, Batman comics on the stands? Do you go for the obviously not too obvious by joining in on the Deadpool bandwagon? Would one of the cool kids show off their indie chops by selecting Asterios Polyp, or even some Robert Crumb?

I chased my tail for a while trying to work out where this should all begin and then my mate boiled it down instantly and easily. Iron Man. Why? Because he’s just had a massive movie (and that can’t hurt with the site hits), and everyone should know who he is, and he’s a cool character and should be easy/interesting to write. I won't actually believe that anyone or anything is easy to write, but he's a more streamlined choice than kicking things off with someone like the 50's Captain America. Iron Man has now become a pretty iconic comic character and we want to write comic scripts so it seemed like a good fit. In fact, it was the perfect answer.

Tony Stark is charismatic, smart, good looking, and just a little bit kooky. Iron Man is sleek, dangerous, powerful, and completely awesome. Who wouldn’t want to write a page where these two fantastic characters are in fact the same character? So here we are now, all about to look at a stack of Iron Man one page scripts. We hope you enjoy.

In the future, I have plenty more characters I am eager to write, and eager to see others tackle. I have a list, it’s on my computer, and it’s very long. I’ll have time later to hit my favourite character, and then my favourite villains, and even my favourite indie/creator owned guys and gals. And I’m sure we’ll get to them all because I plan on being here a long while.

We hope you enjoy Iron Man and we wish to thank Stan Lee, Larry Lieber, Don Heck, and Jack Kirby because without them Iron Man would not be around.

Iron Man is a character owned by Marvel Entertainment.

It Starts With Words - You Can't Kill Words

The following was what I wrote to the initial members upon their looking to join. It's no speech from Braveheart but it still worked on these fine upstanding lads. It is redacted and unnecessary for public viewing. I have kept it for posterity, so if you absolutely must, fine, go ahead. I won't stop you.