Starship Troopers: The Exterminator - Niel Jacoby

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Panel 1: an Exterminator, dressed in all black with a pair of gray night-vision goggles pushed onto his forehead the only real color on him, sits at a computer terminal(think what people from the mid-late 90s would think a 2005 laptop would look like) in his hideout, which has no visible doors and a directional microphone stand passing as a satellite dish in the only window, which is tinted. Each wall except for the one with the window has a seat and a listening station for listening in to the conversations in the neighboring rooms, each numbered. The terminal is the only light in the room and just barely illuminates the room enough for these to be visible.

Caption(terminal): TODD COSGRIFF, EXTERMINATOR, CHICAGO, ILLINOIS, ECO PARKWAY INTELLIGENCE STATION, AUGUST 12, 2025. WIRETAP FEEDS REPORT NO SIGN OF ARACHNID COLLUSION YET. AM ABOUT TO START LISTENING DUTY, SECOND POST AT 0200 HOURS.

Panel 2: the Exterminator sits at the post labeled 2, with a pair of headphones on(think the type airplane pilots use, heavy, full ear coverage and sound insulation) and a stenographer's notepad, jotting down notes by hand. We can see that the listening station has a dial for switching between 5 different feeds, these being 5 different apartments. there is a small lamp for the Exterminator to write by. A digital readout in the top left corner shows the time as 0200.

NO COPY

Panels 3, 4, 5, 6: small panels showing the Exterminator switching from feed 1 to feed 2 in 3, from 2 to 3 in 4, from 3 to 4 in 5, and from 4 to 5 in 6.
readout in 3: 0212
readout in 4: 0224
readout in 5: 0236
readout in 6: 0248

Panel 7: we see the steno pad. It says:
1: No suspicion, normal activity
2: Some suspicion of media piracy, recommend installation of information tap
3: hints of harboring Bug agents, will investigate further
4: No suspicion, keeping audio for personal perusal
5: High suspicion of harboring agitators, recommend immediate search of apartment

{in}(informative section): If you're familiar with the latest iteration of the Dick Tracy strip, you'll have seen the Crimestopper's Textbook sections (ex. http://www.gocomics.com/dicktracy/2012/08/19). I'd like this section to be reminiscent of something like that, a sort of blurb of information right out of a manual.

Bug-buster Basics:
THE EXTERMINATORS
(picture of an exterminator listening intently at his station, quickly writing down notes)
The Exterminators are Earth's front line of defense at home against the Arachnid menace. As you know, Bug agents, some of them human traitors, can hide anywhere, so we need to be extra-vigilant in tracking down these sleeper cells. The Exterminators do just that, weeding out the termites in the woodwork of our society. As Founding Father Ben Franklin said, "If one is unwilling to enforce the security and protection of their essential liberties, then it is most assured that they shall have neither liberty nor security."

If you'd like to know more about the Exterminators, ask your guidance counselor about joining the Department of Planetary Security, and she should have pamphlets on hand. If not, go down to the local Federation Recruiting Station, and while you're getting your pamphlet, tell the highest-ranking officer you can find that your school is improperly stocked, and they should be able to get everything straightened out.

Starship Troopers - Boot Camp - R.A. Wonsowski

(OK, i was really struggling for a script this week, and then Full Metal Jacket came on Turner Classic, so...)

SPLASH PAGE.

Art only on the lower third of the page.  Background:  Space Marines staring straight ahead in formation, at attention.  They all look scared, panicked, or concerned.  One is trying desperately not to laugh.  Foreground:  Our newest recruit, PRIVATE CRUZ, is lying in a ball, facing us, protecting his tenders in pain.  Tears are rolling down his face.  Standing over him is GUNNERY SARGEANT ROLLINS.  He is missing one leg, but he is standing without crutches or cane.  His pointing finger is almost in CRUZ's face, and he is screaming at him.

The top two-thirds is the following copy:

GUNNERY SARGEANT ROLLINS:  YOU LITTLE PIECE OF $#!T SCUMBAG!  NO ONE EVER TOLD YOU THAT THE MOST DANGEROUS MOTHER #&C*@R AT AN @$$-KICKING CONTEST IS A ONE-LEGGED MAN?   SWEET VIRGIN MARY, THE BEST PART OF YOU, YOUR MOTHER WIPED AWAY WITH A DIRTY GYM SOCK!  MAYBE TOO MANY DADDIES IN YOUR GENEPOOL!  TELL YOUR MOTHER SHE CHARGES TOO LITTLE!  AND YOU BETTER NOT BE CRYING!  YOU HAD BEST UN#&C* YOURSELF!   AND DOUBLE-TIME!  OR NEXT TIME, I WON'T BE SO EASY ON YOU!  I WILL MAKE YOU HARD!  I WILL MAKE YOU MEAN!  OR SO HELP ME CHRIST I WILL FEED YOU TO THE BUGS MYSELF!  WOULD YOU LIKE TO KNOW MORE, PRIVATE?  OR ARE WE CRYSTAL?

CRUZ:  (weakly) Sir, yes sir...

GUNNERY SARGEANT ROLLINS:  JESUS HARVEY WALLBANGING CHRIST!  SOUND OFF AS IF I DIDN'T JUST SLAM THEM IN REVERSE!  YOU LITTLE MAGGOT...

CAPTION:  Day 2.

Starship Troopers - The Klendathu Conspiracy - J.D. Coughlan

Set in the movie universe, just after the events of the first film. I haven't seen the other films, so it may contradict them.

Panel 1: Colonel Carl Jenkins, Military Intelligence officer and psychic (played by Neil Patrick Harris in the movie), stands naked in the communal shower room, in the classic troubled man pose -- head down, hand against the wall as water cascades over him.

VOLMER (OP): (small) ...can't wait to find out our first black ops mission.

Panel 2: Corporals Volmer (male) and Weiss (female) enter, talking to each other. Original characters, both young black ops recruits. Both are naked too. No convenient obstructions either; we're all grown-ups here. Weiss is surprised to find Jenkins there (officers' have their own private showers).

VOLMER: Once they pull intel outta--

WEISS: Oh! Colonel. We didn't think anyone was--

Panel 3: Close on Jenkins. He is still looking downward, not at Volmer and Weiss.

JENKINS: It doesn't know a damn thing...

WEISS (OP): S-Sir?

JENKINS: The Brain Bug. It doesn't know a damn thing about Buenos Aires. The asteroid attack.

Panel 4: Wider shot of all three. Again, Jenkins looking down.

JENKINS: And that got me thinking... How the hell could the Bugs coordinate something like that in the first place? From a whole goddam galaxy away!?

JENKINS: Then I started digging... Found out the Federation had their eye on Klendathu for a while, but couldn't justify the expense of taking it...

Panel 5: Two-shot of Volmer and Weiss, reacting with shock.

JENKINS (OP): Then I started thinking... What if Buenos Aires was an inside job?

Panel 6: Close-up of Jenkins. He is looking at Volmer and Weiss (and us) for the first time, water dripping down his face. Grinning a small, non-pleasurable grin.

JENKINS: Would you like to know more?

END OF PAGE

I saw the movie for the first time when I was about 13, so there was obviously one scene that stood out in my mind. I also wanted to highlight the logical inconsistencies and disturbingly prescient 9/11 parallels around the Bugs' "plan" without it being a boring talky page.

Is this Thought Balloons' first all-nude script?

Starship Troopers – Before The Breach – Shaun Richens.

PAGE TWENTY-TWO

4 PANELS.

1,2,3 Form a top row.

4. Takes up the rest of the page.

1. We are looking straight on at the face of young female pilot. She wears a blank look on her face.

         CAPTION:

         War…

2. Same as 1. The pilots face has an eerie blue glow about. Her face has dropped. She looks devastated.

         CAPTION:

         What is it…

3. Same as 2. The blue glow has gotten even brighter and tears have started to fill the pilots eyes.

         CAPTION:

         Good for?

4. We are in orbit above KLENDATHU. A host of CORVETTE TRANSPORT ships are on fire and braking up. The ship closest to us has just been hit face on by a huge blue plasma burst. It was fired from a PLAMSA BUG on the planets surface. The ship catches fire and explosions are going off all around the bridge.

         NO COPY. 

Starship Troopers – One Great Big Giant Misunderstanding – MK Stangeland Jr.

(6 Panels)

Panel 1: Two WORKER BUGS, ‘J-A-3’ and ‘5-T-U’, are standing on a giant rock in the midst of an asteroid field while wearing appropriately-designed spacesuits.

J-A-3: <Man, this is so boring.*>

5-T-U: <Quiet, you. That kind of talk is what got us sent out here in the first place!>

TEXT BOX: *Translated from the language of the Arachnid Empire.

Panel 2: J-A-3 points to a massive-sized asteroid.

J-A-3: <I bet we could make this both faster and a lot more fun if we used that massive rock over there.>

Panel 3: 5-T-U looks at J-A-3.

5-T-U: <That sounds like a remarkably bad idea.>

J-A-3: <Oh, come on, let’s do it.>

5-T-U: <An incredibly, remarkably bad idea.>

Panel 4: J-A-3 begins to wander off.

J-A-3: <I’m going to go do it anyway.>

5-T-U: <Oh please no…>

J-A-3: <Oh, what’s the worst that could happen?>

Panel 5: The massive-sized asteroid is seen flying away from the asteroid field at an odd angle.

TEXT BOX: Soon…

SFX: (From the bottom where flames/jets are seen burning.) Whoooosh!

Panel 6: J-A-3 and 5-T-U are on a different asteroid, watching the massive one fly out into space.

5-T-U: <You just had to ask.>

J-A-3: <Eh. I’m sure no one will ever notice. What are the odds of it actually hitting anything?>

END PAGE

Starship Troopers- Triumph Over Will -Dan Hill

PAGE ONE

1.1


We OPEN on a TIGHT SHOT of a BUG-- specifically the bug from the propaganda video from the movie. You know the one, the one with the school kids taking glee in crushing the bug.


1 CAP (CORTEZ) When the bugs invaded I think I was one of the few humans who admired them.


1.2


ZOOM IN on the BUG. We can see its antenna, mandibles and huge eyes. The thing looks alien.


2 CAP(CORTEZ) They had a singular, unshakable vision.


1.3


We have now ZOOMED OUT to reveal that the images are playing out on a row of several monitors. Sat in front of the monitor, with her back to CAMERA, is CORTEZ. She's in her mid twenties with long black hair, and Roman-esque features (though we obviously can't see them yet).


She's wearing a grey cotton dress shirt (it's hard to tell if it's a mans shirt or not) with the sleeves rolled up and the top button undone. She also wears a pair of black slacks and simple black pumps.


The editing suite is sparsely furnished, grey and functional.


3 CAP(CORTEZ) I could relate.


1.4


CUT TO a TIGHT SHOT looking slightly from the side of CORTEZ. We can see a military man is stood slightly off to the side of her, watching her. This is MASTERS, head of the 'Information' division of the Federation's military. He wears military uniform, is in his mid forties with slicked back black hair and steel blue eyes.


4 CAP(CORTEZ) Never turn from the path you've set out on.


5 CAP(CORTEZ) Never compro--

6 MASTERS No. The focus needs to be on the kids reaction here.


1.5


FIXED PANEL. CORTEZ continues to look at the screen. She's frustrated, gesturing at the screen. MASTERS looks on coolly.

7 CORTEZ But I'm trying to emphasise the 'otherness' of--


8 MASTERS Do it. You're here to shoot.


1.6


CUT TO a shot from behind CORTEZ again as she peers at the monitor. The CAMERA though, is a little bit further back in the room this time. The lights are off in the room, the only glow comes from the monitors, and we can see CORTEZ is alone.


It's later in the day now. CORTEZ is watching combat footage play out on the monitors.


9 CAP(MASTERS) Not think.


1.7


CUT TO a shot looking out from the monitors towards CORTEZ, the white glow of the monitors thrown across her face. She looks old. She looks dejected. She looks defeated.

Starship Troopers – Hiding Spot - Ben Rosenthal

1.  A black panel.  All we can see are the following words balloons.

VOICE 1

Are you sure we’re safe in here?

VOICE 2

It’s a hell of a lot safer in here than out there, McGee.  Here—

2.  The panel has been illuminated by a flair held by Voice 2.  This is Jentson.  Both men are in Starship Troopers battle armour.  McGee looks scared.

JENTSON

Feel better now?  Going to have to be sparse with these flares.  Only have a few.

3.  The light of the flare is dying out.

MCGEE

What was that?

JENTSON

Ddidn’t hear a thing.  Would you relax? We will just stay in here until the battle is over.

4.  Black panel again.

SFX: KRONSH

JENTSON

Now that I heard.  What is that?

5.  Jentson has fired up another flare.  He is looking at McGee whose face is in shock as a bug eats half of his head.  Behind it are numerous other bugs.  They are in a bug nest.  McGee is dead. Jentson has no hope of escape.

Starship Troopers - Would You Like To Know More? - Grant McLaughlin

I'm not terribly picky on the layout on this one.  Just make sure that panels 4 and 5 are set up in a way to maximize the parallelism between them.

1 - Establishing city shot.  It can really be any city.  The important thing is that the focus of the panel is the Federal Network headquarters building.  Never actually seen in the film, I'd imagine it to be a sleek looking skyscraper with "Federal Network" written along the top, along with the Federal Network logo right after it (creative, I know).

PETER (inside building): I don't understand.

LAWRENCE (inside building): Peter...

2 - Interior shot of an office.  It's opulent as heck in an effort to denote the importance of the man who works there: Lawrence Rogers, the head of the Federal Network (new character).  Across from him sits Peter Jenkins, an investigative journalist for the network (also new character).  There are numerous TV screens throughout the background, showing different images from the Federal Network's programming (think of those PSA seen throughout the film).  Peter looks a little off-put at Lawrence's accusations.

LAWRENCE (1): We both know that you don't believe the propaganda that they - that we - have served over the years.

Peter: Sir --

LAWRENCE (2) (interrupting): It's okay, Peter.  An entire race of sentient aliens attacking Earth without rhyme or reason?  It doesn't make sense.

3 - Focus on Lawrence.  If you want, we can see Peter's back, looking towards his boss.  Lawrence flips a monitor for Peter (and the reader to see).  It also shows some of the Federal Network's coverage.  The scene is a number of dead Bugs, perhaps with some soldiers celebrating if it isn't too crowded.  Written on top of the image is "The only good Bug is a dead Bug".

LAWRENCE (1): There's more to it than that.  Something that the Federation doesn't want anyone to know.

LAWRENCE (2): I want you to look into this.  Find the bottom of the rabbit hole.

4 - The panel is focused solely on Peter.  He is in the middle of the panel, looking directly towards the reader.  He looks concerned, but not scared, weighing the matter in his mind.

PETER: Sir, questioning the war is treason.

LAWRENCE (off-panel): I know what I'm asking of you, Peter.

5 - Peter is still the central focus of the panel, but the scene has switched.  Jenkins is now in full Mobile Infantry kit.  He stands alongside a number of other Mobile Infantry soldiers - his new unit.

CAPTION (LAWRENCE): Are you prepared to make that sacrifice to find the truth?

JENKINS ET AL.: Sir, yes, sir!

Why Starship Troopers?

I love Starship Troopers.

It's the human race fighting for its very survival against a horde of alien bugs.  We're terribly outnumbered, outgunned, and outclassed.  But we're not going down without a fight.  It's simple, it's blunt, and it's often quite on the nose, but I absolutely adore it.

At the same time, I will be the first to admit that it is, simply put, bad movie.  But it is a great bad movie.  While director Paul Verhoeven had some high ideas about how the movie could be a satirization of fascism and of hypermilitarization, it really missed the mark on those counts.

Instead, we ended up with some popcorn science fiction of the highest order, full of violence, catch phrases, and gore.  Lots and lots of gore.  The whole thing is cranked up to 11 from start to finish.  The movie is absurd.  And it revels in its absurdity (just look at those public service announcements throughout it!).

Despite how ridiculous everything is, every single person in the movie plays it straight.  This insane world has its own internal consistency that holds true from start to finish.  And what a world it is.  The movie is sprinkled with bits of dialogue, settings, and props that hint at a far wider and more complex world than we ever really get to see.  The Federation and its war machine are intriguing and fascinating in a way that we never truly can understand.

How did the world end up this way?  Who is truly in control?  And why was there such a well-developed industrial military complex in times of peace?  These are only some of the questions that I can find myself asking after watching this movie.

Starship Troopers is definitely a bad movie, but it's one hell of a bad movie.  One of the best that I've ever had the pleasure of watching.  It is filled to the brim with style.  It is a living, breathing world that, while absurd, makes sense in its own strange way.  It could have been better - probably a lot better - but I love it all nonetheless.  Besides, sometimes you just need some testosterone-filled, senseless violence.  And this movie has that in spades.

So let's do this.  Let's take it to those Bugs.  Let's be the next heroes of the Federation.

"Come on, you apes!  Do you wanna live forever?!"

Mister Miracle - A Long Time Ago... - Ray Wonsowski

8 panel layout, 4 rows of 2, equal size.

Setting:  a truck stop diner.  In panels 1 to 7, we are focused on the same two booths.  In the left booth is a GUY with a dark beard, wearing a baseball cap and glasses, with a cup of coffee at his elbow.  He is writing in a notebook.  MISTER MIRACLE (in costume) is finishing his breakfast with his faithful friend and manager, OBERON, in the other booth.  The bearded guy should be back-to-back with MM.



Panel 1:  MR. MIRACLE is forking the last of his scrambled eggs into his mouth as OBERON lights his after-meal cigar.  The other guy is writing but looks frustrated.

CAPTION:  California, 1973.

OBERON:  So, tell me 'bout this other guy.  O'Ryan, is it?

MR. MIRACLE:  Orion.  He was born on Apokolips, where I grew up.

OBERON:  What's that place like, anyway?



Panel 2:  MM puts his fork on his plate, wiping his mouth with a napkin.  OBERON blows a smoke ring at the ceiling.  The other guy is eavesdropping.

MR. MIRACLE:  Well, imagine the moon, but completely covered by industry and technology gone mad.  And there's this pit that shoots fire and death.

OBERON:  Charming.

MR. MIRACLE:  Anyway, Orion's dad is the guy who runs the place.



Panel 3:  MM drapes his arm over the back of his seat as OBERON leans forward to listen.  The other guy is scratching furiously in his notebook as he's listening intently.

OBERON:  Darkseid.

MR. MIRACLE:  That's him.  Anyway, when I went there, his son was sent to my world where he was raised in relative peace.  But it didn't take.

OBERON:  Born for war.



Panel 4:  MM leans in.  OBERON ashes his cigar in his plate.  The other guy is writing as fast as he can.

MR. MIRACLE:  And someday, he's going to have to face off against his father.  Luckily, he's one with the Source.

OBERON:  The Source?

MR: MIRACLE:  Kind of like God.  It's a spiritual energy, I guess, that surrounds and binds everything together.



Panel 5:  OBERON's cigar is in his mouth as he opens his wallet.  MR. MIRACLE takes a last sip of coffee.  The other guy is leaned into his notebook, writing in intense concentration.

OBERON:  And Orion can tap it?

MR. MIRACLE:  He has to.  Darkseid's dangerous.  He's terror and anger personified.  He can kill you just by pointing and looking at you.  Thankfully, Orion had a wonderful old man for a teacher.

OBERON:  Yeah, well, so do you, kid.



Panel 6:  OBERON, cigar in his teeth, leaves some money on the table as he and MM get up to leave.  MM is smiling kindly.  The writer whips his head around (slightly panicked) to watch them go.  His pen is still scratching away.

MR. MIRACLE:  Ha!  Oberon, you could know me better than anyone.  Orion could probably learn a few tricks from you.

OBERON:  Bah!  Who'd traipse halfway across a galaxy to listen to a crotchety old dwarf like me?

MR. MIRACLE:  You'd be surprised...



Panel 7:  MR. MIRACLE and OBERON (puffing on his cigar) exit to the right, as a MAN in a suit and tie sits down at the writer's booth.  The writer looks up and smiles widely at him.  MM is rolling his eyes.

OBERON:  You know, maybe we should call that Flashman guy.  He could do something with that story of yours.

MR. MIRACLE:  Oh, please...

OBERON:  Think about it.  Movies, comic books, toys, LP records, your face on T-shirts and posters...

MAN IN SUIT:  George...



Panel 8:  Birds eye view of the writer's notebook on the diner table, facing the writer.  We only see the hands of the man in the suit across from him, folded.  The writer's pen is down, and his hands spread wide in excitement.  The notebook should be filled with notes such as:  The Source FORCE.  DARK SIDE.  STAR of DEATH.  SON v. FATHER = DESTINY!!  WAR in the STARS.  Son sent away, learn from Oberon Obiwan (kanomi? kanobi?) (or maybe a midget. Puppet?).  (include a rough sketch of the Death Star shooting its ray, and in small print "that's no moon")

CAPTION (Mr. Miracle):  Seriously, who would buy it?

Thank you, Jack Kirby - the ORIGINAL!

Mr. Miracle - Time Dies When You're Having Gun! - Niel Jacoby

Splash page: Mister Miracle, his hands tied in chains suspended from the minute hand of Big Ben, which now shows 5: 28, with a strange device right above the 6 on the clock face, dangles above a tank of ominous fluid, and we can see the red dots of snipers all around him. Oberon stands on a stage in the foreground and is gesturing to Scott.

Oberon: THE MYSTIFYING MISTER MIRACLE, THE WORLD'S FOREMOST ESCAPE ARTIST, MUST ESCAPE HIS BONDS IN THE NEXT 2 MINUTES, OR THE CHAIN SHALL DISENGAGE, SENDING HIM 80 METERS DOWNWARD, AN ALMOST CERTAINLY FATAL PLUNGE!

Oberon: AND EVEN IF IT'S NOT THE FALL THAT KILLS HIM, IT'LL BE THE SUDDEN GLOP AT THE END AS AT THE BOTTOM OF THAT FALL IS THIS TUB OF AN UNSPECIFIED ACID!

Oberon: BUT WHEN HE'S OUT OF HIS CHAINS, HE WON'T BE FINISHED, AS WE HAVE 100 TRAINED SNIPERS SET TO AIM AT THE MOMENT HE ESCAPES, AS HE MUST REACH THE PEAK OF BIG BEN WITHOUT CATCHING A BAD END!

Oberon: AND NOW, THE MAN WHO DEFIES DEATH, BUT NEVER TAXES, SCOTT FREE!

Mister Miracle - The Mind Maze - J.D. Coughlan

Full-page splash. There are images of: Darkseid looking smug, perhaps even grinning evilly, if it works; Mr. Miracle lying on a slab with his head in some kind of spherical device ("The Mind Maze") while Desaad stands over him, also looking evil; and Mr. Miracle trapped in a maze with spikes on the wall, trap-doors, and any other Indy-style traps you can fit in; but the predominant image is Mr. Miracle clutching his head, eyes wide in horror.

CAPTION: The Ultimate Evil has created the Ultimate Prison!

CAPTION: To break free from his own psyche, Mister Miracle must out-think... himself!

CAPTION: Can the Expert Escapist escape...

TITLE: THE MIND MAZE

END OF PAGE

Mister Miracle – The Highest Price – Shaun Richens.

PAGE ONE

Page Layout:

113

223

444

444

1. A black panel.

         CAPTION (MANGA KHAN)

         It’s time to wake up.

         CAPTION (MANGA KHAN)

         Someone is here to collect you.

2. We are looking straight on at MANGA KHAN from the waist up. He stands triumphant and proud, his arms folded across his chest, his cape flowing down behind him.

         MANGA KHAN

         I am pleased you have decided to arise at such an apt 

         moment.

3. A full body shot of MISTER MIRACLE. His hands and feet or bond in black shackles and seem to pulsate with a strange dark energy. His body is strapped to a wall his arms pinned up above his head.

         MIRACLE

         What do you want with me Khan?

         MANGA KHAN (O.P)

         Oh it is not I who wants you.

4. Half page splash. L-RON leads the being known as DARKSEID across the deck of the CLUSTER SHIP towards MANGA KHAN and his captive MISTER MIRACLE. A huge window looking out across the galaxy frames DARKSEID from behind; we can see stars and other parts of the massive CLUSTER SHIP space station in the window.  DARKSEID walks with his hands behind his back, a slight grin on his face.

         MANGA KHAN

         I am afraid I was made an offer I simply could 

         not refuse.

Mister Miracle – Mr. & Mrs. Free: Adventures in Suburbia – MK Stangeland Jr.

(9 Panels)

Panel 1: Exterior panel of part of MR. MIRACLE & BIG BARDA’s house in the suburbs during the night. A group of four black-masked thieves are pumping something in to their house.

NARRATION BOX: That night…

BURGLAR #1: These fools will never know what hit them!

Panel 2: Interior panel of SCOTT FREE and BARDA FREE in the basement of their house. Both are tied to chairs, and look like they were dragged out of bed while sleeping. SCOTT is wearing a pair of MR. MIRACLE boxer shorts, while BARDA is dressed in a tasteful looking night gown.

NARRATION BOX: With their house filled with knock out gas, SCOTT FREE And BARDA FREE are tied up in the basement, leaving the burglars free reign of their house!

Panel 3: Close up of SCOTT and BARDA tied to their chairs. SCOTT is amused by the situation, while BARDA looks down with a face that says ‘I don’t have to put up with this $#*^’.

SCOTT: Ha, these ropes are mere childs’ play!

Panel 4: Panel of just SCOTT in his chair, looking like he’s taking his time untying himself.

SFX: (Coming from off-panel as BARDA just flexes her muscles and breaks out of her chair, though we don’t actually see this happening.) CRACK!

SCOTT: Why, I could be out of these yesterday if I wanted to.

Panel 5: Panel of SCOTT continuing to untie himself at a leisurely pace, largely unconcerned by the situation and unaware that his wife is already upstairs dealing with the burglars.

SCOTT: Clearly, these fools did not do their research.

SFX: (Coming from off-panel as BARDA walks upstairs.) Thud! Thud! Thud!

BURGLAR #2: (Coming from off-panel as BARDA starts dealing with the burglars upstairs.) How did you…

SFX: (Coming from off-panel as BARDA starts dealing with the burglars upstairs.) WAK!

Panel 6: Panel of SCOTT in the chair, nearly untied, and whistling as he takes his time and continues to be unaware as to what his wife is up to.

SFX: (From SCOTT) *Whistle music notes*

SFX: (From upstairs.) SMACK! PUNCH! POW!

BURGLAR #3: Ow!

BURGLAR #4: UNCLE! UNCLE!

Panel 7: SCOTT stands up as he finishes untying himself.

SCOTT: Alright, honey. Give me a moment to untie you and we can go dish out some justice.

Panel 8: SCOTT looks to where BARDA’s chair used to be. There’s now a pile of broken chair pieces and torn rope lying there instead.

Panel 9: SCOTT looks up the stairs from the basement to where BARDA is poking her head around the corner to shout down to her husband.

BARDA: Scott, if you’re done playing around down there, could you come and give me a hand with these guys so we can drive them to the police station?

(END PAGE)

Mister Miracle - The Great Escape - Grant McLaughlin

This script takes place in the home of Mister Miracle and Big Barda.  There's nothing particularly special about it, but that's where it's happening.  Three rows of panels, two panels per row.

1 - Big Barda looks towards the stairs and yells up to her husband.  She is dressed in a classy looking dress.  The kind of thing you'd wear to the theatre or an expensive restaurant.

BIG BARDA: Scott, we need to get going!

2 - Extend the image from panel one, just dividing it by the gutter to show that it's a new panel.  Here we see the empty stairs.  No dialogue.

3 - Big Barda is walking up the stairs.

BIG BARDA: Scott?

4 - At the top of the stairs, Big Barda is walking down the hallway towards the room where Mister Miracle is.

BIG BARDA: Come on, we're going to be late.

5 - Big Barda standing in the doorway of the room where Mister Miracle is.  She looks a little upset, her hands on her hips.

BIG BARDA: Have you forgotten that you promised to take me to the ballet tonight?

6 - Mister Miracle, wearing some really plain and boring looking clothing, is halfway through slipping out the open window.  He looks towards Big Barda (and the reader) with an incredibly sheepish look on his face.

MISTER MIRACLE (1): Err...

MISTER MIRACLE (2): What gives you that idea?

Mister Miracle – Cheat – Ben Rosenthal

1.  FULL PAGE SPLASH

Mister Miracle is slumped  in a couch in a typical middle-class home.  He is watching a TV with a bottle of beer in his hand.  He looks bored, tired and dejected.  He hates his life.

CAPTION

Could it be?  Our MIRACLE MAN ensnared and cannot escape?  Can Mister Miracle escape from the trickiest trap yet – the dysfunctional relationship!

WIFE (off panel)

Have  you taken out the garbage yet?

MISTER MIRACLE

I will in a minute--

MISTER MIRACLE (smaller, under his breath so his wife does not hear)

--Your Highness.

Mister Miracle- Change -Dan Hill

As far as I know the concept of the New Gods haven't been introduced into the New 52 as yet. This is my take on Mister Miracle's re-emergence in that universe.

PAGE ONE

The page depicts the side of a tenement building at an angle, split into four wide panels on top of one another.

1.1
Night. A shot of the Bludhaven skyline. There is an orange tinge emanating from areas of the city in the background. At the bottom of the panel we can see the roof of a tenement building.

Smoke rises from the bottom of the panel.

CAP:  Bludhaven.

CAP(MISTER MIRACLE):  The more things change, the more they stay the same.

1.2
We see the side of the tenement building, and a fire escape bolted to it. A few people look out of their windows or stand on the fire escape, all peering down.

Smoke still rises from below.

CAP(MISTER MIRACLE):  Bludhaven is under attack.

CAP(MISTER MIRACLE):  So it was before, so it is again.

1.3
We continue the pan down the side of the building. More fire escapes, more concerned and nosy citizens looking on.

This time though, on the side of the building, we can see graffiti-- the initials MM in red and yellow paint.

Smoke continues to rise.

CAP(MISTER MIRACLE):  The rich become richer and the poor become poorer.

CAP(MISTER MIRACLE):  So it was before, so it is again.

1.4
We are now at street level. We can see a large crowd of PROTESTORS has gathered. They carry signs depicting slogans reminiscent of the 99% movement. They are all angry, organised and vocal.

A makeshift signal fire sits in the middle of the group, smoke rising from it.

CAP(MISTER MIRACLE): But this time I am here to show them that there is a different way.

CAP(MISTER MIRACLE): A way out.

CAP(MISTER MIRACLE): An escape.

Why Mister Miracle?

After becoming disgruntled with Marvel in the early 70's, Jack Kirby turned to DC Comics and tried his hand at what he envisioned to be a finite series depicting a cosmic battle between good and evil. This conflict had its beginnings in the aftermath of Ragnarok itself before it found its way to Earth and the DCU. Originally consisting of the titles The Forever People, Superman's Pal Jimmy Olsen, The New Gods and Mister Miracle the series became known as the Fourth World saga and charted the battle between Apokolips and New Genesis and it's denizens, the aforementioned New Gods.

Amidst this pantheon we meet Scott Free (yes, really), son of the ruler of New Genesis. As part of the the agreement to keep the peace between the two worlds Scott was sent to live on Apokolips, where he rebels against the oppression of the world and it's ruler, Darkseid. Eventually he escapes Apokolips and heads to Earth, his actions reigniting the war between the two worlds. On Earth he is taken in by Thaddeus Brown, a circus escape artist ,with Scott proving to be an excellent escapologist himself. Soon after this, Thaddeus is murdered and Scott takes up his mentor's stage costume and name, Mister Miracle.

Since that time Scott has won his freedom from Darkseid, joined the JLA, tried to live the quiet life in the suburbs (with wife Big Barda) and even recruited his own protege/successor in Shiloh Norman (who has taken up the Mister Miracle mantle himself).

So why Mister Miracle? No situation is too impossible for him to escape from, he never gives up, he's part of a cosmic battle between good and evil and even death can't hold him forever. If Kirby himself is woven into the very fabric of modern superhero comics then Mister Miracle is a distillation of everything those comics do well-- big stories, big themes and, dare I say it?

Escapism.

Captain Marvel - Aware - Ray Wonsowski

...ok...bear with me, because I'm going for a kind of Starlin-ish vibe here...but this could get a little tricky for the artist; there's a LOT going on here.  But, pulled off, it could be really kickin'...

If this was a traditional page, I would say this would break down into 16 panels, 4x4 grid, but what it really is, is a 15-element splash with the 16th panel seperated by white space.  The 15 elements should bleed into one another, and the background should be a starfield.  The elements are:

1:  EON -  - the captions in the splash will be his (its?).

2:  MAR-VELL in his original Kree green-and-white uniform in a Colan-esque power-standing position, like on the cover of his first magazine.

3:  MAR-VELL in his 70's costume, flying (left to right).

4:  MAR-VELL's face, but his features, except for the hair and eyes, are in black shadow and replaced by a galactic cluster.

5:  CAROL DANVERS in her more familiar MS. MARVEL garb, flying upwards, but curving left.

6:  Two Skrull warriors, firing their laser pistols at...

7:  MAR-VELL, firing photonic blasts back at the scrulls, flanked by...

8:  Two Kree soldiers, their weapons drawn and at the ready, protecting the Supreme Intelligence -

9:  MAR-VELL on his death bed (we do not see the bedframe), tube in his nose.

10:  MONICA RAMBEAU, in her 80's costume, flying away from the bed, toward us, and behind...

11:  GENIS-VELL, in his Peter David-era costume, led by...

12:  PHYLA-VELL, in her Captain Marvel outfit, carrying her star-sword.

13 to 15:  Foreground, bottom of page, Earth people, all races and ages, looking up to the sky.  Background, almost transparent, Carol Danvers's head, naked shoulders and arms, looking slightly upward.  Her arms are outstretched, palms up, as if sheltering the people, an angelic repose on her face.  Her skin is bare, almost translucent.

Captions (EON):

 - KNOW that the charge to be bestowed upon you is not one for a mere footsoldier.

 - It requires COSMIC AWARENESS - unity with the Celestial Axis, the thread of life.

 - There will always be warriors to answer the cry for battle, willing to die for glory in the name of war unending.

 - But to be a PROTECTOR UNIVERSAL is a call to service, to be willing to live in humility for the sake of Life Itself.

 - Now, Carol Susan Jane Danvers - CHOOSE! - the clenched fist, or the sheltering hand?

Panel 16:  Separated from the rest.  Close-up, the serene, smiling face of CAROL DANVERS, with her new look.  Her eyes hold galaxies.

CAROL:  I choose - -

CAROL:   - - the open heart.

Captain Marvel - Don't Say It - Niel Jacoby

This takes place in the timeline from Avengers Forever where Genis-Vell is bonded to Rick Jones and is on the Avengers.

Panel 1: Carol and Genis-Vell are looking at something off-screen and are worried. They are in space.

Carol: WOW. THIS... THIS IS CERTAINLY SOMETHING.

Genis: YEAH.

Panel 2: same viewpoint as 1. Carol is determined, Genis is slightly flinching, like he knows something's about to happen, but he's still determined.

Carol: GOOD THING THIS IS...

Genis: YOU'RE NOT GOING TO SAY WHAT I THINK YOU'RE GOING TO SAY, ARE YOU?

Panel 3: this one should take up most of the page, as we zoom out and see the threat: Galactus now has the powers of Captain Universe.

Carol: ...A MARVEL TWO-ON-ONE!

Genis: OOF. AND I THOUGHT RICK HAD GROANERS.

Captain Marvel - American Marvel - J.D. Coughlan

Three small panels across the top, one large panel taking up most of the page.

Panel 1: Close-up of Carol's chest (well covered, nothing fanservice-y) as she pulls on her new uniform - description below. Her face is unseen.

NICK FURY (CAP): There was always gonna be a return to status quo after a period of... respect. That's just how things go in our line of work, as you well know.

Panel 2: Close-up of Carol putting on one of her new boots. Face still unseen.

NICK FURY (CAP): And I won't B.S. ya -- you were a controversial choice among the older, "traditional" crowd.

Panel 3: Close-up of Carol picking up Captain America's shield. Face still unseen, although maybe more of it is in view this time.

NICK FURY (CAP): But I'm the oldest, most stubborn son of a b@%$# I know and I say -- with your military background, not to mention time in the Avengers...

Panel 4: Big. Carol stands proudly, but with responsibility heavy on her shoulders, in an amalgamation of her Ms. Marvel uniform and Captain America's. Hair cropped close, as it is now, and no mask. Perhaps the star symbol on her chest could taper off at two ends, suggestion the lightning bolt of her old costume? I'm no artist. It should definitely be sensible and not typical comic book cheesecake. She is carrying Cap's shield too. (I know she's invulnerable; it's symbolic!) Nick Fury stands behind her.

NICK FURY: ...you're gonna make one helluva CAPTAIN AMERICA!

END OF PAGE

Captain Marvel/Carol Danvers – She’s No Chef – Shaun Richens.

PAGE ONE

6 PANELS

1 & 2 are page wide panels.

3,4,5 run underneath as one row.

6 is a page wide panel.

1. Establishing shot. The USS Howard Stark aircraft carrier is pushing through the North Pacific Ocean at some speed.

It’s a clear but cold night, stars reflect off the almost black ocean below.

         CAPTION:

         The USS Howard Stark.

         CAPTION:

         23:58 Hours.

2. We pull into the deck of the ship. Two shot of two Hydra soldiers leaning on the balcony of the observation deck. They wear the normal green and yellow uniform of Hydra but both have large coats like this on. The coats are black with Hydra logos on the sleeves. One of the Hydra Soldiers is holding a pair of Thermal imaging goggles up to his eyes to look out to sea. The other is blowing into his hands to warm them, his hot breath rising as steam. Both of them have Hydra weapons slung across their backs.

         COLD HANDS:

         Anything?

         GOGGLES 1:

Not a damn thing.

GOGGLES 2:

We are in the middle of the ocean whose guna sneak up on us?

3. POV of GOGGLES looking through the thermal imaging goggles. We see the distant horizon, its nothing but ocean. The whole scene should be in dark blues, grays and blacks, to highlight the low temperature out at sea.

         NO COPY.

4. Same as 4 however now a bright red figure can be seen in the far distance flying just above the water. The figure is trimmed by accents of orange and yellow. This is something hot coming at them.

         GOGGLES: (O.P)

         What the…

5. Same as 3. Now the panel is nearly entirely taken up with a large red and orange fist.

         NO COPY.

6. The two Hydra soldiers lay knocked out on top off each other on the floor of the observation towers balcony. Their goggles and weapons have been bent and broken so they can no longer be used. We can see a pair of long legs floating at the top of the page, dark blue tights and a pair of red boots cover them.

         Captain Marvel: (coming from top of the page)

         Tony and Steve won’t be happy you boys stole this ship. 

Captain Marvel – Head Trip – MK Stangeland Jr.

(While fighting NITRO and stopping him from exploding in a populated area, CAPTAIN MARVEL (CAROL DANVERS) unintentionally absorbed NITROs body due to being in contact with him when he went boom and her energy absorption powers taking over.

His mind has since settled into a portion of DANVERS head, though DR. STRANGE and PROFESSOR X are currently trying to help her get rid of the unwanted guest.)

(8 Panels)

Panel 1: NITRO comes to a rest face-down on the ground after his opening smack-down from CAPTAIN MARVEL (CAROL DANVERS) on the previous page.

CAPTAIN MARVEL lands in the background. A large amount of dirt and dust coming up around her feet strongly suggest she made a sliding landing.

NITRO: (Small, as though barely hearable) ahhh…

Panel 2: NITRO gets on one foot as he picks himself up. One of his hands is doing a ‘blood wipe/blood check’ at his mouth.

CAPTAIN MARVEL: (Off-panel) Eviction time.

NITRO (1): I thought you’d come.

NITRO (2): Too late. Couldn’t leave now even if I wanted to.

NITRO (3): Nothing left to go back to.

Panel 3: CAPTAIN MARVEL springs forward and hits NITRO with a cross punch. A tooth or two can be seen flying from his mouth due to the impact.

NITRO: I’ve made a home here. I’m even…

SFX: WHACK!

Panel 4: NITRO is down on one knee again, leaning over sidewise as he uses a single arm to keep himself off the ground. A touch of blood might be visible dripping from his mouth, but nothing that would by any means be considered excessive.

CAPTAIN MARVEL towers over him – she looks PISSED OFF.

NITRO (1): ow…

NITRO (2): Stop hitting me.

CAPTAIN MARVEL: Then get out.

NITRO: No.

Panel 5: NITRO stands up, though he’s hunched over as he hasn’t yet gotten his footing. His arm is in front of his face as he wipes away whatever’s there.

NITRO (1): I’m planning on expanding. Taking over.

NITRO (2): I may not prefer blondes, but once I’m done I’m definitely going to have more…

Panel 6: CAPTAIN MARVEL zooms in and hits NITRO with an uppercut that sends him flying backwards.

SFX: Ka-RAKKkk!

Panel 7: NITRO lands in a heap.

NITRO: ugh!

Panel 8: Close up on NITRO as he tries to pick himself up again.

NITRO: You should stop that.

(END PAGE)

Captain Marvel- What's In A Name? -Dan Hill

Apologies about the lateness of this post. Never travel on a train where a potential crime may break out.

Anyway, without further ado:

PAGE TWO
The page consists of a top tier of two panels, a tier of five small vertical panels and a final tier of two panel.

2.1
We OPEN on a CLOSE UP of MYSTIQUE in her default form. She wipes a smear of blood from her teeth with the back of her hand.

MYSTIQUE:  You think you’re better than me? Above me?

2.2
CUT TO a CLOSE UP on CAPTAIN MARVEL. Smoke and grime cover her face. She has a fresh cut beneath her left eye.

MYSTIQUE (OFF):  We’re not so different.

2.3
CUT TO a small vertical panel of MYSTIQUE. She has her back to a wall of sophisticated looking computer equipment. We’re in a control room somewhere deep in the bowels of a military base.

MYSTIQUE:  Carol Danvers.

2.4
FIXED PANEL. MYSTIQUE has now morphed into CAROL DANVERS wearing the original MS. MARVEL costume.

MYSTIQUE:  Ms. Marvel.

2.5
FIXED PANEL. Another change, this time into CAROL wearing the more modern MS. MARVEL costume (the black one with the sash, etc).

MYSTIQUE:  Warbird.

2.6
FIXED PANEL. A change into Carol in the guise of BINARY.

MYSTIQUE: Binary.

2.7
FIXED PANEL. A final change into CAROL wearing her current CAPTAIN MARVEL costume.

MYSTIQUE:  And now Captain Marvel.

MYSTIQUE:  Why pick just one?

2.8
CUT TO a ¾ shot of CAPTAIN MARVEL (the real one this time!). She’s hovering several inches off the ground. Behind her we can see smoking computers and broken office furniture.

CAPTAIN MARVEL:  The names chose me.

CAPTAIN MARVEL:  I didn’t steal them.

2.9
FIXED PANEL. An extremely pissed off CAPTAIN MARVEL fires one of her photon blasts.

CAPTAIN MARVEL:  I earned them.

Captain Marvel - Changes - Grant McLaughlin

Okay, we've got a lot of panels here, but it's not as bad as you think (hopefully).  The first eight panels are all pretty small, laid out in two rows that take up maybe a third of the page (think pretty much any Avengers book by Brian Michael Bendis).  The remaining four panels take up the last two thirds of the page, two panels per row, divided however you'd like.

1 - Tony Stark sits at a table and looks towards the reader.

TONY: It's your choice, Carol, but...

2 - Captain America looks over towards the reader from his training.

CAPTAIN AMERICA: I'll support you either way, but...

3 - Luke Cage holds his young daughter and looks towards the reader.

LUKE CAGE: Why would you want to do that?

4 - Nick Fury sits behind his nice big SHIELD desk, looking a tad confused.

NICK FURY: I'm not really sure why you came to me with this, but...

5 - Wanda Maximoff drinks a coffee and looks towards the reader.

WANDA: Are you sure that's what you want?

6 - Peter Parker hangs upside-down in Spider-Man outfit, looking towards the reader.

PETER (1): Really?

PETER (quietly) (2): Please don't vaporize me.

7 - Jessica Jones is holding her young daughter and looks towards the reader.

JESSICA: Normally I'd say Luke doesn't know what he's talking about, but...

8 - Natasha Romanoff is doing some target practice.  She doesn't actually look back towards the reader.

NATASHA: What's wrong with what you have?

9 - Establishing shot.  Outside a hairstylist's.  The window simply says "Salon".  Daytime.

MOLLY (from within building): Isn't that a little dramatic?

10 - Carol sits in a hairdresser chair.  Her hair is still long.  She's out of uniform and Molly Fitzgerald, the former Shamrock, stands behind her.  Carol wears a sour expression.  Molly dismisses it, looking pleased and excited.  Have the shot from behind them, looking towards the mirror, so we see their faces only in their reflection.

CAROL: Don't tell me you also think it's a bad idea, Moll!

MOLLY: Oh, no.  I think it'll look amazing.  I just want to make sure you're ready for such a big change.

11 - Repeat shot - still seeing their faces in the mirror's reflection.  Carol looks pensive.  No dialogue.

12 - Switch angle.  We're now looking directly at Carol.  She wears a happy, confident expression.  Molly walks off to get her supplies.  She's smiling knowingly.

CAROL: Definitely.

Captain Marvel - What it Means - Ben Rosenthal

1.  A quiet shot of a grave yard at night.  Everything is peaceful.  There are gravestones visible, with one in the foreground more noticeable than the rest.  On it we can just make out the words ‘CAPTAIN MARVEL’.

2.  Carol Danvers in full Captain Marvel uniform is flying back, hitting Captain Marvels tombstone as she has been punched in the stomach.  Hard.  Her uniform is torn in some bits, with bleeding cuts and bruises visible.

3.  A tight shot of Carol looking up at her unknown attacker.  She is weak and beaten.  Blood pours from her obviously broken nose.  She struggles to see through a badly swollen eye.

4.  Same as Panel 3, with Carol’s head bowed.  She is broken and wanting to give up.

5.  A wide panel showing Carol noticing the tombstone of Mar-Vell.  It is broken in two and lying on the ground, facing up.

6.  Carol is now on one knee, struggling to stand but refusing to stay down.  Where she was about to give up before, she now cannot be stopped.  She is determined.

CAPTAIN MARVEL

No.

Why Captain Marvel (Carol Danvers)?

Because quite simply I dig her.  This is saying a lot.

For years Marvel have been attempting to make Carol Danvers aka the new Captain Marvel their No.1 female hero.  With this latest incarnation, they have succeeded.

Personally speaking, Carol Danvers has never hit the mark for me.  While she was trying to be a top class hero, I just wants made to care about her enough for me to see her as that...until now.  Kelly Sue DeConnick has in one issue done what other writers have attempted to do - made Carol Danvers a fully fleshed out character.

I LOVED Osborn by Kelly Sue (which is saying a lot considering the huge fan of Norman that I am) which originally perked my interest in the new Captain Marvel.  I also have a great like for strong female characters, and knew that Kelly Sue could pull this off better than anyone.  After picking up Captain Marvel #1 I can say that not only was I not disappointed, but was blown away.  I cannot recall any #1 issue that has focused solely on a characterisation.  Sure there is a battle, but that isn't important.  What is important is that it shows Carol as an individual with regular hangups.  She is not all powerful and infallible, or even trying to put on a hero façade - she is vulnerable, and thus is relate-able.

So this, my fine thought ballooners is why we are writing about the NEW Captain Marvel this week.  I can only hope we give her half of the justice to character that Kelly Sue has.


Want to write your own script?  Then post below and let the world see your writing prowess!

Ozymandias - All For Nothing - R.A.Wonsowski

9 panel, 3x3 grid.

Panel 1 - Estsablishing shot:  Adrian Veidt's "Karnak" retreat on the Antarctic tundra.

CAPTION (Dr. Manhattan):  "Nothing ends, Adrian..."

Panel 2 - Closer in.  Adrian's compound takes up most of the panel.  Snow blows by a large panel window.

NO COPY

Panel 3 - Closer in.  Through the frosted window, we see some of Adrian's historic treasures broken, smashed and destroyed on the floor.  A planned advertisement for "Millenium" perfume on a knocked-over easel looks as if it was slashed with a knife.  In the middle of the debris is Adrian's cape, half-torn.  A copy of New Frontiersman is in view, Rorschach's "face" dominates the cover, the headline:  Hero's Journal: Veidt Exposed!

NO COPY

Panel 4 - Closer in.  Foreground, we see the heap of Adrian's cape from a different angle.  ADRIAN is sitting in front of his giant wall of TV screens.  His back is to us, but his head is hung so low that we barely see his hair.  The images are unclear, but on a few, "SPECIAL REPORT" and "LIVE VIA SATELLITE" in various languages read across the bottom.

NO COPY

Panel 5 - Closer in.  Adrian has turned his chair toward us so that his back is to the screens.  He is weeping uncontrollably, slumped forward, head back, and he is holding an automatic pistol in his hand, pressed flat to the side of his face, as if trying to wipe his tears with it.  It looks as if he has torn his tunic, rending it apart, his torso exposed.  The screens show various reporters in their studios or on-site where there is massive amounts of smoke, ash, and fluttering paper.  One screen says "LIVE - NYC"

NO COPY

Panel 6 - Closer in.  Foreground, Adrian (head and shoulders) has put the pistol in his mouth, tears running down his face in despair.  The TV screens are now in better focus:  They show, from various angles, one tower of the World Trade Center smoking from when the first plane hit.

NO COPY

Panel 7 - One TV screen, just before the second plane hits the other tower.  The bottom of the screen reads:  "Breaking News - September 11, 2001"

NO COPY

Panel 8 - On the same screen, the side of the second tower explodes from the plane crash.  Blood spatter splashes the screen.  The blood on the screen on top of the televised fireball is a resemblance of the Comedian's smiley-face button.

NO COPY

Panel 9 - Black text on white background:

COPY:  And on the pedestal these words appear:
`My name is Ozymandias, King of Kings:
Look on my works, ye mighty, and despair!'
Nothing beside remains. - Percy Bysshe Shelley

FDNY-NYPD 9-11-2001:  Never forget...