Electro – Juliet and John – Shaun Richens.

PAGE SIX – 5 PANELS.

Layout

111

223

444

555

1. INT. Secret Underground Base of shieldwatch. The base is located beneath New York City.

HAMMER stands to the left of panel JOHN to the right. They are both looking through one-way glass into a plain white interrogation room. A steel table sits in the centre of the room. JULIET sits handcuffed to a steel chair on the right of the table; DEAD OF NIGHT sits opposite her. A thick steel door is situated behind DEAD OF NIGHT. It is currently closed.

         HAMMER 1:

This is her. She crashed in some kind of escape pod in the Hudson. This thing has got tech onboard we’ve never seen before.

(Link)

HAMMER 2:

The pods down in the labs, we are still running tests on it.

JOHN:

What’s any of this got to do with me?

2. Close up on HAMMER.

         HAMMER 1:

Shieldwatch satellites picked up an anomaly just outside of Earth orbit before she crashed.

(Link)

HAMMER 2:

The portal she came through, it’s magical in origin. That’s why you’re here Strange. We need to know what she has to do with it. We need to know why she is here.

3. Close up on JOHN

         JOHN:

         So what is Trent doing in there with her?

4. Cut to INT interrogation room. DEAD OF NIGHT sits on his side of the table to the left of panel, JULIET on the right.

         CAPTION HAMMER:

Like his methods or not, Dead of Night knows how to get answers out of people.

DEAD OF NIGHT

So you don’t wanna talk to me. That’s ok. I mean I can talk enough for two.

(Link)

DEAD OF NIGHT 2:

I know your type; you’re all quiet and mysterious.

(Link)

DEAD OF NIGHT 3:

But answer one thing for me at least. Watt would it take to get you to talk to me?

5. The door behind DEAD OF NIGHT has opened; standing in the doorway is LADY LIGHTNING (An amalgamation of Electro and Livewire) she wears her blonde hair in a tall Mohawk, the sides totally shaved, she wears a SHIELDWATCH uniform but the arms are cut off at the shoulders and bolts of electrical energy leap up and down her arms. Both LADY LIGHTNING and DEAD OF NIGHT are looking straight at JULIET and the reader smiling.

         DEAD OF NIGHT:

         How about some shocking questions?

Electro – Age of Electro – MK Stangeland Jr.

(ELECTRO has used his powers to take control of an ULTRON unit, and is using it to try to take revenge on SPIDER-MAN, whose body is currently being occupied by DR. OCTOPUS. Or, as I prefer to refer to the combination, “SPOCK” – as in short for ‘Spider-Ock’)

(5 Panels)

Panel 1: ELECTRO is flying after ‘SPOCK’ in a bad part of town, trying to shoot him.

‘SPOCK’: Stop shooting at me!

ELECTRO: I’m thinking it’s a ‘no’ on that!

Panel 2: ‘SPOCK’ takes cover behind a wall.

ELECTRO: Just make this easy and let me kill you already! You can’t hurt me, and all I have to do is shoot you once!

‘SPOCK’: (Thought balloon) We’ll see about that.

Panel 3: ‘SPOCK’ leaps out from behind the wall. Both arms are out and shooting web blobs in the direction of ELECTRO (off-panel)

‘SPOCK’: You small-minded cretin.

SFX: thip thip thip thip

Panel 4: ELECTRO tries to block the web blobs as they fly at him.

SFX: wak wak wak wak

‘SPOCK’: This is the best you can come up with?

‘SPOCK’ (2): You hijack one of the most advanced robots in the world, if not the galaxy,

Panel 5: A web blob gets trough and hits ELECTRO in the face.

‘SPOCK’: (Off Panel) And the best idea you can come up with is “I’m going to go get revenge on Spider-Man!”?!

END PAGE

Electro - Green & Yellow -Dan Hill

I had a hard time with this one. It was hard to find an 'in' with this character. So I went with THAT costume and why on earth someone would choose to wear it.

PAGE TWENTY TWO

22.1
Wide panel: we open on a shot of ELECTRO's COSTUME laid out on a wooden table.

1 ZELINSKY(OFF): I followed your requirements to the letter, Mr Dillon.

2 ZELINSKY(OFF): Even the colours.

22.2
Cut to LEO ZELINSKY, cleaning his glasses with a cloth. He wears a woolen jumper and khakis.

We're in a back room of Zelinsky's shop, boxes of material piled up in the corners, shelves of supplies etc. 

The centre of the room is dominated by the wooden table.
3 ZELINSKY: Which are, ah, most unorthodox.

4 ZELINSKY: Green and yellow?

22.3
Cut to MAX DILLON, out of costume. He stands over the table with his arms folded. He’s smiling to himself.

5 DILLON: It’s perfect. Your reputation is justified, Mr Zelinsky.

22.4
Back on Leo, his glasses back on. He smiles, relieved his client is happy.

6 ZELINSKY: It’s a bold design. Unique.

22.5
On Dillon. He has picked up the costume from the table, looking at it intently.

7 DILLON: That’s the point.

22.6
From Dillon’s POV looking down towards the costume.

8 DILLON: I want them to see me coming.

Electro - Chekhov's Pun - Grant McLaughlin

No particular moment in continuity in mind (except pre-Superior Spider-Man, I guess).

Three rows of panels.  Row one is made up of panels 1 through 3, row two of panels 4 through 6, and row three of panels 7 and 8.

1 - Peter Parker is in his house / apartment (depending on what point in Pete's life you're going with).  Peter is bending over as he puts on his Spider-Man pants.  He looks down at a book that is face-up and open on his bed.

PETER PARKER (1): Alright, off the top of my head: shock... sparks... live wire... charged... power...

PETER PARKER (2): All classics, but maybe a little too easy.  What do I have in here?

2 - Pete walks through his apartment.  He's putting on his Spider-Man top, one arm through a sleeve and the other still holding that book.

PETER PARKER: "Pull the plug."  That would be a good one to end with.

3 - The top on, Pete awkwardly tries to put on a Spidey-boot one handed, the book still in his other hand.

PETER PARKER: "On a power trip."  That will definitely come up.

4 - Pete is using his teeth to put on a Spidey-glove (his other hand still obviously holding the book).  He looks at the page, and despite the glove in his mouth, smiles at what he sees.

PETER PARKER: "How do you stay current?"  Ooo, I bet he'll hate that one.

5 - Pete places a finger on the book's page and looks surprised and excited by what he's found.

PETER PARKER: I should be able to work these in.  Oh, what's this?

6 - Pete reads out a line, but look unsure as to its efficacy.

PETER PARKER (1): "...a flummoxed capacitor... not hard for you to hit 1.21 giga-whats."

PETER PARKER (2): Hmm.  Is that too much?  Maybe it's too much.

7 - Pete puts the book down on a side table.

PETER PARKER: Either way, I think I should have enough.

8 - This panel focuses on the side table that Peter just put the book down on.  The book is on top of a newspaper.  The book has "Pun Journal" handwritten on its cover.  The newspaper it rests on is a copy of the Daily Bugle.  There's a picture of Electro, along with a headline that reads "Electro at Large!" (and a sub-title that reads "Spider-Man Involved?").  In the background, Pete heads to leave via the window, pulling on his mask.

PETER PARKER: Worse comes to worst, I can always bust out some Breakin' 2 references.

Electro - His Hands - Ben Rosenthal

1.  The view of Earth from space.

CAPTION (singing)

“He’s got the rivers and the mountains in His hands,”

2.  A closer look at the Earth – something isn't right.  The Earth’s electro-magnetic field is not curved as it usually is (REF: http://www.scifun.ed.ac.uk/card/images/left/earth-magfield.jpg ), but rippled as if being manipulated by something.

CAPTION (singing)

“He’s got the oceans and the seas in His hands,”

3.  Closer yet again and we see what is causing the magnetic fields to be disturbed.  Electro is floating in the stratosphere, arms outstretched and using his heightened electric based powers to disturb the Earth’s magnetic field.

CAPTION (singing)

“He’s got you and me in His hands,”

4.  A close up of Electro’s scarred face.  He wears an evil smirk, thinking about the damage he can accomplish now that the entire planet’s electromagnetic field is under his control.

CAPTION (singing)

” I've got the whole world in My hands.”

Electro - Redemption Road: Run - R.A. Wonsowski

(A continuation of my saga of Max "Electro" Dillon, super-villain skip-tracer.)

Previously:  MAX gets out of prison to find that he has a baby girl.  After falling back on desperate measures with a heist gone bad, Hawkeye convinces him to go straight.  Thanks to the advice of the Taskmaster (http://www.thought-balloons.com/2012/09/taskmaster-redemption-road-revisited.html), MAX has built himself a decent niche business bountying metahuman criminals who flee the justice system.  However, after "turning in" the alien warrior-woman Stellaris, he returns home to see her old partner in the cosmic Graces, the space pirate NEBULA, abducting MAX's baby daughter, TESS.  Her ultimatum: free Stellaris or the baby dies.  MAX, still impulsive as ever, instead chooses to pursue NEBULA, which leads to a frantic chase across New York City, to where her ship lies waiting in Battery Park.  MAX makes one last attempt to rescue his little girl...

Layout:
1122
1122
3455
3555

Panel 1 - P.O.V. inside NEBULA's ship.  She stands foreground, back to us, looking out the closing hatch, as TESS screams as she's held in the crook of her arm.  Through the hatch, we see MAX breaking through the treeline, his fists and eyes crackling with electricity, accentuating his facial scars.  His head shaved, he wears a green bowling shirt with wide yellow lightning-shaped stripes down the front, jeans, and Doc Martens.

CAPTION (MAX):  ...no.

MAX:  TESS!!!

CAPTION (MAX):  No, no, no.


Panel 2 - P.O.V. from behind MAX.  He's throwing a tremendous amount of lightning at the ship as it lifts off from the ground.  But the ship shrugs it off, and from the look on MAX's face, it might even be feeding back on him.

CAPTION (MAX):  I hate myself sick.  I shoulda called somebody.  Anybody.

CAPTION (MAX):  I have Hawkeye's pager, for Chrissakes.  I coulda brought the #u$&in' Avengers down on her head.


Panel 3 - Suddenly, a bright light is shined right in MAX's face.  The whole panel is bathed in bright light as MAX shields his sparking eyes.

CAPTION (MAX):  Tess is gonna die or worse because I'm either too stupid or stubborn to ask for help.


Panel 4 - (inset)  MAX, still shielding his eyes, looking shocked.

(off-panel):  So...


Panel 5 - Foreground, we see MAX, his back to us, crouching down and his fists are sparking with electrity again, but holding back.  He is looking at the towering figure of DEATH'S HEAD (http://en.wikipedia.org/wiki/Death's_Head), hanging from the hatch of his hovering snubfighter, one hand on the flight controls, the other extended as if in friendship.

DEATH'S HEAD:  ...one "freelance peacekeeper" to another...

DEATH'S HEAD:  ...you could use some assistance, yes?

CAPTION (MAX):  Well, this is different...

Why Electro?

C'mere...I'll tell you why...

I always had a soft spot for this goofball.  I remember watching the old Spider-Man cartoons, and there goes this cackling figure skiing on power lines, and thinking that was pretty boss.

But then you get a little older, and you think:  Wow, what a crappy costume.  Jeez, that mask is ridiculous.  Most of Spidey's other villians, they were mostly scientists or richer than Croesus.  Max Dillon worked for ConEd.  He was blue collar.  His crimes were mostly robberies, no great schemes of revenge or murder.  Of all the Sinister Six, he was the one that had no real place there.

Even his rep screamed loser.  He was defeated by Daredevil, Yellowjacket, the Falcon, and Power Pack.  His weakness is water, and he falls for it harder than Mxyzptlk says his name backwards.

But then I remember...he once was approached by Magneto to be an ally.  The Sinister Six keep inviting him back.  He is a walking dynamo of incredible power.  Heck, the Skrulls hired him to instigate a prison riot and breakout.  Remember Nate Grey, X-Man?  No?  That's because Electro short circuited his brain.

And then came "The Gauntlet".

When his powers started going out of control, he became scarred by them.  Despite his electrical power, he had no personal power.  Finally realizing this, he became a spokesman for the 99% in the wake of the financial crisis and crippled the New York Stock exchange.  This actually goes back to his original background, when he was stealing from Tony Stark to boost his own power.

He is also strangely loyal to a small circle.  Adrian Toomes, the Vulture, is his best friend.  When he has a girlfriend (yes, it's been shown a few times) he is attentive and charming (though, a little crass).  He's loyal to Doctor Octopus because he always has a helpful science tip on how to use his powers more creatively.

So, the soft spot has returned.  I still think the goofball is pretty cool.  So does the Spidey-Movie people; they just signed Jamie "Django Unchained" Foxx to play him in the sequel to "The Amazing Spider-Man".

So, let's see what you, and the goofball, have got.  Thrill me.  Surprise me.

Shock me.

Enemy Ace - Memorial Day - Ray Wonsowski

Layout:
1122
3344
5566
7788

Panel 1:  A Texas-style saloon.  We see the bar straight on, a couple of draft handles at the ready.  Two men approach empty bar stools.  The man approaching from the left wears the wide straw hat of a field hand, and his face is in the brim's shadow.  He has a lightweight boxer's build, and wears a denim shirt and jeans.  The man approaching from the right is 65 to 70 years old, face tan and leathery, his white hair cut to a military crew cut.  He is thin, and he wears a loose white blousy shirt and khakis.  This is HANS VON HAMMER.  Both men wear military style boots.  A BARTENDER cleans a beer glass with a rag.  The mirror behind the bar reflects the scene back, and we see the man on the left is scratching his face in the manner of the UNKNOWN SOLDIER.  The mirror has photos tacked around the frame, and a calendar on the wall has Betty Page in lingerie and the page reads August 1955.

CAPTION:  Fredericksburg, Texas.

BARTENDER:  Gen'l'men.


Panel 2:  Closer in.  The two men have sat on their stools, their backs to us, their faces reflected in the mirror.  The bartender puts the glass beneath one draft handle and begins to pour.

UNKNOWN SOLDIER:  Beer.

VON HAMMER:  Apple schnapps.


Panel 3:  Closer in.  The SOLDIER has his beer in front of him as the bartender puts the glass of schnapps in front of VON HAMMER.  The bartender is already turning away.  The two patrons stare at their reflections in the mirror.

NO COPY


Panel 4:  The reflection of the two men in the mirror, both staring into their glasses.  The SOLDIER scratches his face again.

UNKNOWN SOLDIER:  Ten years we've been meeting here like this...

VON HAMMER:  There shall not be another.


Panel 5:  Same POV.  The SOLDIER turns to look at VON HAMMER, who is still staring into his glass of schnapps.

VON HAMMER:  The cancer will not let me see year's end.

UNKNOWN SOLDIER:  I'm...I'm sorry, I...

VON HAMMER:  I have a favor to ask.


Panel 6:  Same as above, but the SOLDIER has his hand on VON HAMMER's shoulder.

UNKNOWN SOLDIER:  Anything.

VON HAMMER:  I have no more family.  At least none that I know of.  Or any that matters.

VON HAMMER:  But...HE...he had a son that he never saw or held.


Panel 7:  Zoom-in.  Glasses clinked in a toast.  A photo stuck in the frame of the mirror is just in view, but unclear.

VON HAMMER:  My Fokker is in the barn on my farm.  Sell the land, the house, and the plane.

VON HAMMER:  The boy gets everything.

UNKNOWN SOLDIER:  ...Ok.


Panel 8:  Zoom-in, to the photo.  It is a yellowed photo of SGT. ROCK, pointing to a picture of his new baby boy, uncharacteristically smiling.

UNKNOWN SOLDIER:  To Sgt. Rock.

VON HAMMER:  I cannot imagine a better man to have surrendered to.

VON HAMMER:  Ich trinke, um seine Ehre.*

CAPTION (small):  * "I drink, to his honor."

Enemy Ace - Gentlemen of the Skies - J.D. Coughlan

Panel 1: Wide shot. A snowy landscape. Hans von Hammer has just crashed his plane, seen smoking in the background. Von Hammer is some distance from it, leaving a trail of footprints in the snow.

NO TEXT

Panel 2: Close-up of von Hammer. He has spotted something in the distance and is squinting at it.

NO TEXT

Panel 3: Over von Hammer's shoulder. In the distance, easily spotted against the snow, is a figure walking towards him. Nothing can be made out about him yet. Behind the figure, some way away, is another downed plane.

NO TEXT

Panel 4: Same, but they have both gotten closer to each other. It can now be seen that the figure is a British pilot.

NO TEXT

Panel 5: Side view of both men, now about arm's length apart. Their body language indicates they have both halted. They stare at each other.

NO TEXT

Panel 6: Wide shot. Both men have gone their seperate ways, passing by each other, their footprints crossing at that one point.

NO TEXT

END OF PAGE

Enemy Ace – Juliet and John – Shaun Richens.

PAGE FIVE – 9 PANELS.

Layout

9 panel grid.

1. INT. The bar from pages 2 and 3. We are back with John Strange, still sat at the bar. We have pulled back to reveal the shadowy figure stood behind him to be Hans Wagner Hammer (An amalgamation of Hans Von Hammer and Kurt Wagner/ Nightcrawler.)  HANS WAGNER HAMMER has short greying hair and his face is wrinkled but he still looks in great shape for a man of his age, he wears the black and white armour of the SHIELDWATCH agents and around his neck hangs a crucifix on a chain. HAMMER stands behind JOHN his hand still on his shoulder.

         HAMMER:

         I’ve been sent to bring you in John.

         JOHN:

         Do I even have a…

2. Repeat of panel 1, however JOHN and HAMMER are now both gone, only a small cloud of dark blue smokes hands around the bar where they were.

         SFX(Around the smoke)

         BAMF

3. Cut to a shot of GRANT the barkeeper. He is just looking wide-eyed at the area JOHN and HAMMER had jut been.

         GRANT:

         New York gets stranger everyday.

4. INT. Secret Underground Base of shieldwatch. The base is located beneath New York City.

JOHN and HAMMER have just appeared in a long sterile white corridor very similar to the one Juliet was being taken down.

         JOHN:

         … choice.

5. Repeat of panel 4. JOHN is now looking at HAMMER rather annoyed.

         JOHN:

         I’ll take that as a no then shall I.

         HAMMER:

Look Strange you’re a Shieldwatch consultant and I was sent to bring you in. I’m just doing my job.

6. Close up on JOHN.

         JOHN 1:

         Just doing your job, like you did in the war?

         (Link)

         JOHN 2:

Say how do the German government feel about their old war hero working for an American agency?

7. Cut to close up on HAMMER.

         HAMMER:

I know you have your issues with me Doctor Strange, you feel that because I fought against the British in a war before you were even born that I am somehow your enemy. But I’m not.

8. Cut back to close up on JOHN, he is starting to look angry now.

         JOHN:

My only issue with you Hammer is that you used your mutant powers to survive in dogfights that honourable men had to die in.

9. Cut back to close on HAMMER, he is looking down towards the floor, he looks a little hurt by JOHN’s words.

HAMMER 1:

This isn’t about our issues Strange.

(Link)

HAMMER 2:

This is about a girl from another world. 

Enemy Ace – The Flying Aces of World War I – MK Stangeland Jr.

(5 Panels)

Panel 1: HANS VON HAMMER, the ENEMY ACE himself, is flying his Fokker Tri-Plane across the cloudy skies. These aren’t so much hindering clouds so much as picturesque clouds, however.

VON HAMMER: (Thought Balloon) Once again, I take to the skies as part of an ever-darkening war.

Panel 2: VON HAMMER looks out of his plane to the skies as he searches for his quarry.

VON HAMMER: (Thought Balloon) My mission: To hunt down the infamous scourge of the skies, that dogged pilot who refuses to die.

Panel 3: VON HAMMER spots the shadow of a Sopwith Camel flying across the clouds.

VON HAMMER: (Thought Balloon) And then I see him. His plane is one of hundreds just like it.

VON HAMMER (2): (Thought Balloon) But the pilot? The pilot is unmistakable.

Panel 4: VON HAMMER’s plane goes into a maneuver that will take him on an intercept course with the plane he saw in the previous panel.

VON HAMMER: (Thought Balloon) I move into position, ready to strike.

VON HAMMER (2): (Thought Balloon) For today? Today, I shoot down…

Panel 5: Reveal panel – in the foreground is VON HAMMER’s target. It’s SNOOPY in his World War One Flying Ace persona, flying a vehicle that looks like a cross between his doghouse and the Sopwith Camel that he believes it to be. SNOOPY looks over his shoulder as he tries to locate VON HAMMER’s plane behind him.

In the background is VON HAMMER’s Triplane, dramatically moving into position before pulling the trigger so he can try to shoot down SNOOPY.

VON HAMMER: …The World War One Flying Ace!

(END PAGE)

Enemy Ace -Ronin- Dan Hill

PAGE TWENTY TWO

1.
Close up. A shot of an empty whiskey glass as it sits on a wooden bar.

Off: Refill, bitte.

2.
Close up. A bottle has appeared at the top of the panel, pouring whiskey into the glass.

Off: Danke.

3.
Wide panel. Zoom out to reveal Hans Von Hammer sitting at a wooden bar facing us, the whiskey glass in front of him. He’s wearing a dark turtleneck and dark green trousers.Von Hammer is in his mid fifties, the aristocratic looks are now joined by greying hair and lines. He looks like the loneliest man alive.

The bar is dingy, smoke fills the air. A few veterans can be seen drinking in the background, a set of crutches resting against their table.

Caption: SCAP Occupied Tokyo, 1950.

4.
Push in on Von Hammer. He’s about to take a swig, the whiskey glass inches from his mouth.

Off: They say a Samurai is supposed to commit suicide on the loss of his master.

Off: Looks like you’re doing a pretty good job of that.

5.
Zoom out to reveal the source of the voice, Lieutenant General Claire Lee Chennault, standing behind Von Hammer. He’s wearing civilian clothes, a pair of chinos and a simple cotton shirt.

Reference: http://en.wikipedia.org/wiki/Claire_Lee_Chennault

Chennault: Last place on Earth I’d expect to find you.

Von Hammer: That was the point. What do you want, Chennault?

6.
Chennault takes a stool next to Von Hammer, sitting to his right (our left as we’re still facing them from across the bar).

Chennault: Ah, so you know who I am. I’ll cut to the chase then. I’m here with a job opportunity.

Von Hammer: I’m fifty four years old.

Chennault: It’s a brave new world, Mr Von Hammer. Allies are enemies. Enemies are allies.

7.
Close up on Von Hammer. He’s listening.

Off: So, how’d you like to come and fight the good fight?

Enemy Ace - In His Cups - Grant McLaughlin

1 - Establishing shot.  An outside shot of a barracks.  Night time.  The majority of the men are out at the bar for the evening, celebrating a recent victory.  A candle shines in one of the windows.  The captions are written in the style of a handwritten journal.

CAPTION (VON HAMMER): In one sense, I cannot fault their misunderstanding.  My initial act was rather grossly ostentatious.

2 - Move the shot in closer to the window.  Through the gloom cast by the shadow of the candle, a figure (Von Hammer) is visible writing at his desk.

CAPTION (VON HAMMER): And yet it is something I continue to do.

3 - Move into Von Hammer's room.  While it is dark, you can make out Von Hammer writing at his desk.

CAPTION (VON HAMMER): I cannot say what my original intention was, although I know it was not to celebrate death, as their words would suggest.

4 - Von Hammer looks up from his writing, towards something off-panel.  He looks determined, believing the words that he writes.

CAPTION (VON HAMMER): Individually, they are a marker.  Taken together, a reminder.  Of my past actions.  Of the burden I must carry for what I have done.

5 - Von Hammer looks away from the off-panel object.  Glancing back at his writing, he now wears a look of frustration.

CAPTION (VON HAMMER): I would explain this to the others, but I know they would not understand.  Nevertheless, I wish they would refrain from using that word.

6 - The panel turns towards where Von Hammer has been looking.  One of the silver cups (those that he orders after each confirmed kill) sits atop a shelf.  Others are almost visible in the gloom, but the panel is really focusing on only one.  The light of the candle illuminates it from below, giving it a dark, possibly nefarious, appearance.

CAPTION (VON HAMMER): "Trophy."

Enemy Ace - Lessons Learnt - Ben Rosenthal

1.  A classroom in 1924.  The following diagram (http://upload.wikimedia.org/math/2/f/5/2f5cafe783184f1881c99fbeaafe7a80.png)  is on the black board, with all students facing forward except one. In the middle of class a young boy lazes back in his chair, looking out the window.

TEACHER

< Therefore, what does the following formula tell us? Hm? >*

CAPTION

*Translated from German.

2.  From the teacher’s point of view.  All the students are avoiding his gaze as they are not sure what the answer is.  All accept, again the young man who is looking out the window.

TEACHER (Off panel)

< No one?  Right.  Von Hammer, tell them. >

3.  The student who was looking out the window is now facing front, rattling off the answer.

VON HAMMER

< Sir, it shows that the period of oscillation is independent of both the amplitude and gravitational acceleration , Sir .>

4.  The teacher is looking at Von Hammer.  He is impressed.

TEACHER

< Correct, as usual Von Hammer.  I think we have a future physicist in our class, hm? >

VON HAMMER

< Not me Sir. > 

5.  Von Hammer’s Fokker Dr.I Dreidecker is in the air in the midst of battle.

CAPTION (Von Hammer)

< I'm going to be a pilot. >

Enemy Ace - Cold Skies, Cold Eyes - Niel Jacoby

Panel 1: Hans Von Hammer sits in his triplane, taking off his helmet after a stressful dogfight.

CAPTION(HANS): ANOTHER DAY, ANOTHER DOGFIGHT.

Panel 2: Hans sits, solemn, staring at his many trophies. He has a drink in his hand.

CAPTION(HANS): I HAVEN'T HAD A DECENT HUNT IN DAYS.

Panel 3: Hans walks through the forest with his rifle, the wolf by his side. It is the dead of night.

CAPTION(HANS): EVEN MY HUNTS IN THE FOREST HAVE BEEN DULL AND AIMLESS.

Panel 4: Hans and the wolf are startled.

SFX: BRKKK-KK-KK-KK

SFX: K-PLW!

Panel 5: Hans looks over his destroyed triplane on the hangar, lit only by the burning planes around him.

CAPTION(HANS): ONLY ONE FLIER HAS THE ACUITY TO MAKE A NIGHT RUN IN THIS DARK.

Panel 6: We see a pitch black biplane soar through the sky, a cat's eye painted onto the nose of its propeller.

CAPTION(HANS): THE RUSSIAN ACE, Ночной ветер - THE NIGHT WIND.

Inset Panel: Hans is smiling.

CAPTION(HANS): QUITE THE CHALLENGE.

Why Enemy Ace?

Because it's interesting to see war from the other side.

Hans Von Hammer, the Hammer Of Hell, was created by Robert Kahnigher and Joe Kubert in the pages of Our Army At War #151. A German air ace in WWI, Hans is the most deadly pilot in Germany, and possibly in all of WWI. Each adventure, he earns at least one kill, and with it another trophy. But, as we see time and time again, he finds no joy in celebrating these victories, only in hunting in the forest with a wolf, who unfailingly greets him with a tense staredown that only ends in the acceptance that they cannot kill one another, as each sees the other as his only true companion and brother in the hunt.

Also, air combat is hella rad.

Deadpool - Not A Good Week... - R.A. Wonsowski

Layout:
112
345
677

Panel 1 - A desert island missile launch area.  On the left, advancing toward us, WOLVERINE, CABLE, FANTOMEX, and PSYLOCKE, brandishing claws, oversized laser shotguns, SigSauers, and samurai swords, led by DEADPOOL, wielding a heavy assault rifle.  On the right, foreground, is BARON VON STRUCKER, surrounded by generic HYDRA soldiers.  DEADPOOL however, is looking up in the sky, holding his rifle low and not really pointing at anything.  Steam lines radiate from his head in frustration.

CAPTION:  Suddenly, Cable and X-Force spring into -

DEADPOOL:  Oh, for the luvva...CU-U-UT!!!


Panels 2 through 6:  Head and shoulders shot of DEADPOOL.  He is talking to the 4th-wall me, the writer.

Panel 2:
DEADPOOL (pointing angrily at 4th-wall me):  HEY!  Writer guy!

DEADPOOL:  HEY!!!

CAPTION (4th-wall me):   ...uh, me?

Panel 3:
DEADPOOL (head forward with "attitude"):  I don´t see any other balding failures with noisy sinuses...

DEADPOOL:  I mean, seriously, dude, what the hell?!?

CAPTION (4th-wall me):  What?

Panel 4:
DEADPOOL (pointing at Panel 1 above him with a "OMG" expression):  Oh-come-ON!  Look at this!  A whole ThoughtBalloons(TM) week dedicated to moi...

DEADPOOL:  And this is it?  Me and Hydra?!?


CAPTION (4th-wall me):  Well, now, I...


Panel 5:
DEADPOOL (finger to his "duh" face):  "Cut off one head, and two more doopity-doo!"

CAPTION (4th-wall me):  Hey, look, I'm a little off my game right now.  We all just moved back to the US.  We've been living with my mother...

Panel 6:
DEADPOOL (pleading mixed with concern):  Whoa.  The "Iron Lady", huh...?

DEADPOOL:  ...

DEADPOOL:  Well, listen, do you think we could just give it a little more gusto this time?  From the top?


Panel 7:  A desert island missile launch area tiki bar.  On the left, advancing toward us, WOLVERINE, CABLE, FANTOMEX, and PSYLOCKE the SWEDISH BIKINI TEAM, brandishing claws, oversized laser shotguns, SigSauers, and samurai swords pom poms and massage oil, led by DEADPOOL, wielding a heavy assault rifle large big-mouthed bass.  On the right, foreground, is BARON VON STRUCKER death-staring TAYLOR SWIFT, surrounded by generic HYDRA soldiers koalas with jetpacks and laser blasters.  DEADPOOL shakes his trout menacingly at TAYLOR with verve and excitement radiating from his pores.

CAPTION:  Suddenly...

DEADPOOL:  OH YEAH!!!!

Deadpool - A New Twist On An Old Favorite - Niel Jacoby

Panel 1: Deadpool, unmasked but otherwise suited up in his usual getup, is at the top of the panel, as he stands outside a circle of 6 men, each man tied to a chair with a gag in his mouth. Their placement is as follows:
    1
6     2
5     3
    4

Each man is a member of a different gang, and should be distinguished as such by their ostentatious clothing. Deadpool is holding a revolver, a 6-shooter.

DEADPOOL: LISTEN UP.
(link)
WE'RE GOING TO PLAY A LITTLE GAME. IT MAY BE A BIT CONFUSING AT FIRST...

Inset panel 1: Deadpool loads a single bullet into the revolver.

DEADPOOL: ...BUT I CAN JUST TELL...

Inset panel 2: Deadpool swipes his hand across the cylinder, spinning it.

SFX: WHRRRRRR

DEADPOOL: ...THAT YOU'LL GET THE HANG OF IT IN NO TIME.

Panel 2: Deadpool stands behind MAN 1, holding the revolver to his head and placing his other hand on his shoulder while he leans in on the side opposite the revolver, though not too close. His finger is on the trigger. The man is afraid, sweating.

Inset panel: Deadpool has his face right to MAN 1's ear, as a tear streams down MAN 1'S face.

DEADPOOL: DUCK...
SFX: KLIK

Panel 3: Deadpool has the gun to the back of MAN 2's head.

DEADPOOL: DUCK...
SFX: KLIK

Panel 4: Deadpool is clocking MAN 3 across the back of the head with the butt of the revolver. There should be some blood on the butt of the revolver and in the trail of the revolver's motion. MAN 3's head should be lurching forward from the impact, so we can't see his face.

DEADPOOL: GOOSE!
SFX: THWAKRCH!

Panel 5: Same viewpoint as Panel 1, as Deadpool jogs around the circle, with 4 images of him at different points, connected by speed lines. The first, directly at MAN 3's chair, should be mostly transparent. The second, between MAN 4 and 5, should be less so. The third, at MAN 1, should be even less so, and running backward. The fourth, between MAN 2 and 3, should be completely opaque, and be standing still, leaning on MAN 2's chair. MAN 3 is still slumped over, and the others should be horrified.

DEADPOOL 1: NA-NA-NA-BOO-BOO, BETCHA CAN'T CATCH ME!
(link)
DEADPOOL 2: BETTER HURRY, I'VE ALMOST GOT MY SECOND WIND!
(link)
DEADPOOL 3: MAYBE I SHOULD GO FOR A SECOND LAP, JUST OUT OF THE GOODNESS OF MY HEART.
(link)
DEADPOOL 4: OH, TOO BAD, SLOWPOKE.


Inset panel: Deadpool is holding the gun to MAN 3's unconscious head, while posturing nonchalantly, not even looking at the gun.

DEADPOOL: WELL, I GAVE YOU A CHANCE, BUDDY BOY, BUT IT SEEMS YOU ARE-
SFX: KLIK

Inset panel 2: Same viewpoint as previous. Deadpool walks to the next man, visibly bummed.

DEADPOOL(linked to balloon in first inset panel):-A VERY LUCKY MAN FOR NOW.

Deadpool - Skrull Hunt - J.D. Coughlan

Panel 1: Inside an evil Skrull lair. There is a conference table with several Skrulls seated around it. In the background, but incredibly obvious, is Deadpool peeking through the door.

DEADPOOL (WHITE CAP): Deadpool's secret agent log, September Tuesdayth, O-six-billion hours.

DEADPOOL (WHITE CAP): I have successfully infiltrated the Skrulls' base, located beneath that shawarma place on 59th Street.

DEADPOOL (YELLOW CAP): Good job, Agent Deadpool.

DEADPOOL: Roger.

Panel 2: From outside the conference room. Deadpool looks very pleased with himself (through his mask) as he loads a handgun.

DEADPOOL (WHITE CAP): Although I cannot say where my orders came from--

DEADPOOL (YELLOW CAP): Me. They came from me. I was bored.

DEADPOOL: Shut up!

DEADPOOL: I must stop the Skrulls' evil plan to poison the world's supply of tasty kebab meat!

Panel 3: Same, but this time we now see things as they really are. The evil lair is just the basement of the shawarma joint. The "Skrulls" through the door are just the staff in their break room. Instead of a gun, Deadpool holds a wrap filled with shawarma. The staff are looking right at Deadpool and he is reacting with surprise.

STAFF MEMBER: Um, we can hear you. And we're not Skrulls.

Inset: Close-up of Deadpool. Very serious.

DEADPOOL: It's go time!

Panel 4: Deadpool running away down the corridor, his wrap dropped behind him. His speech balloon should trail after him.

DEADPOOL: Your prices are disproportionate to the quality of your product!

DEADPOOL (YELLOW CAP): Good job, Agent DP! Now report back to base for medals and cookies!

DEADPOOL (WHITE CAP): You probably shouldn't call me "DP."

END OF PAGE

Deadpool – Juliet & John – Shaun Richens.

PAGE FOUR – 5 PANELS.

Layout

111

234

555

1.INT. Secret Underground Base of shieldwatch (An amalgamation of Shield, the D.E.O and Knightwatch) The base is located beneath New York City.

JULIET is being lead down a long sterile white corridor. Her hands cuffed behind her back. She is being pushing from behind by the man who captured her and brought her in for the SHIELDWATCH. 

The man known by the name DEAD OF NIGHT or his alias Winston Trent (This character is an amalgamation of Deadpool and Midnighter) DEAD OF NIGHT wears midnighters classic black armor with black trench coat, however he wears a black and white version of deadpools mask. Around his waist he wears two pearl handled pistols in holsters and a katana sword is slung in its scabbard over DEAD OF NIGHTS shoulder.

         DEAD OF NIGHT 1:

         So you’re kinda hot for a space chick.

         (Link)

         DEAD OF NIGHT 2:

         Captain Kirk would have been all over you like a rash.

         (Link)

         DEAD OF NIGHT 3:

         Though space men are more my kinda thing.

         JULIET:

I want to speak to your superiors. You have taken a member of the UNSC as prisoner without the rights to do so.

DEAD OF NIGHT:

Darlin’ first I ain’t got a clue what a UNSC is. Second as far as anyone but a select few know you’re just a downed weather balloon. Right now I’m the best friend you have.

2. JULIET has thrown her head back connecting with the nose of DEAD OF NIGHT.

         SFX (around the impact)

         CRUNCH.

3. Close up on the cuffs around JULIET’s armored wrists, the chains are taut as she pulls to break them.

         SFX (Around the chain of the cuffs)

         SNAP

4. JULIET now with her hands free turns to face DEAD OF NIGHT. He teeth gritted, her face stern and full of rage. Her hands raised like a boxers ready for a fight.

         NO COPY.

5. DEAD OF NIGHT has pulled his mask off and holds it in his hand. His face is scarred and burnt like deadpools. With his free hand he is wiping blood from his nose, which has already healed. A huge grin has spread across his face.

Flanking DEAD OF NIGHT are a squad of SHIELDWATCH agents. They wear armored suits, the yellow sections are white however and they wear the SHIELDWATCH logo (A shield with an eye on it) on their chests. They are armed with high tech looking rifles, which are all trained on JULIET.

         DEAD OF NIGHT 1:

Don’t worry I’ve been greeted by worse than a broken nose before. I like your fire though. You’re guna need that down here.

(Link)

DEAD OF NIGHT 2:

Escort our young lady visit down to the holding room for me would ya boys.

(Link)

DEAD OF NIGHT 3:

Oh and try to find some better ‘cuffs.

Deadpool -The Other Guy -Dan Hill

NB: So I've used a version of the same character two weeks running...sorry.

But the use of him here was so obvious to me I found it hard to shift my focus from that.

Anyway, the following script uses the 'Pulp' version of the character. There are some minor spoilers as to the origins of that version of the character in the script (nothing too specific though).

PAGE TWENTY


20.1
DEADPOOL (in costume) his sword raised, peers cautiously around a wooden door. We're in a dark and dilapidated Quonset hut.


NB: The differentiation between the two Deadpool/Assailant voices will be done using colours ala the original book. 

1 CAP(DEADPOOL VOICE 1): I finally found this place. 

2 CAP(DEADPOOL VOICE 1): The place I was born. 

3 CAP(DEADPOOL VOICE 2): Woah there chief. The place we were born. 

4 CAP(DEADPOOL VOICE 1): Shut up. 

5 CAP(DEADPOOL VOICE 2): I’m hungry.

20.2
Pull out to reveal an ASSAILANT, his back to us, slashing through the wooden door in a downwards arc with his own SAMURAI SWORD. Deadpool dodges to the left slightly. 

6 SFX: SWOOSH

7 CAP(DEADPOOL VOICE 1): He’s had training. 

8 CAP(DEADPOOL VOICE 2): I really like his sword.


20.3
Deadpool kicks out at his assailants stomach, sending the attacker hurtling backwards and off balance.


9 CAP(DEADPOOL VOICE 1): But he’s sloppy. 

10 CAP(DEADPOOL VOICE 2): Take his sword. 

11 ASSAILANT: Oof


20.4
On Deadpool, sword raised above his head slightly, ready to strike the killing blow.

12 CAP(DEADPOOL VOICE 2): Are you listening to me?

13 ASSAILANT(O.P): Wade...

14 CAP(DEADPOOL VOICE 2): This rat knows us?

15 WADE: Whatever you’re gonna say, make it quick.  

20.5
On the assailant, giving us our first good look at him. He’s in his early thirties, black hair with a roguish face. But his most striking feature is the sign of a crescent moon carved into his forehead. 

16 ASSAILANT: They didn’t stop...

17 CAP(ASSAILANT): Kill him.

20.6
Zoom into a CLOSE UP on the assailant. 

18 ASSAILANT: They didn’t stop with just you. 

19 CAP(ASSAILANT): Goddamnit, Spector. Stop talking and just kill him.