Jessica Jones - Payback - Grant McLaughlin

1 - Establishing shot of a Chinese takeout restaurant somewhere in New York.  Night time.

JESSICA (from within): ...That just brings us to the matter of the bill.

RESTAURANT OWNER: ...

2 - Interior of the restaurant.  Jessica stands near the entrance looking frustrated, on the verge of exasperation.  Across from her stand an older Chinese woman (the restaurant owner) and a younger, teenaged son.  The woman stands with her arm around the son, holding him as if she hasn't seen him for weeks.  The two look apologetic, if happy to be reunited.

JESSICA: Oh, come on!  You said you were good for it!

RESTAURANT OWNER: I am sorry!  To make it up, we will give you free meals until our debt has been repaid.

3 - Jessica stares at them, unimpressed.

NO COPY

4 - The two look back, hopefully.

RESTAURANT OWNER: Delivered to your door!

TEENAGED SON: The lemon chicken is kind of awesome.

5 - Back on Jessica, who exhales and rolls her eyes upwards, giving up.

NO COPY

6 - Back at Jessica's office, she sits at her desk, takeout Chinese spread out on the desktop (same logo as in panel 1, natch).  Jessica eats some of it, pleased with its taste.

NO COPY

7 - Shot of Jessica's Alias Investigations door (from the outside in the hallway).

JESSICA (from within): Okay, this is actually pretty good.

Why Jessica Jones?

Maybe this should be titled Why Alias?

That amazing series by Brian Michael Bendis and Michael Gaydos is where I first fell in love with Jessica Jones after all.  The two creators came together to create one hell of a comic that was equal parts grit and heart.  Ms. Jones was not one to catch much luck, but she rarely let that get in the way of going out and trying to do the right thing.  And if there was some drinking, swearing, and general hard living that needed to be done in between, then so be it.

It is one hell of a comic, but then again, the recent Netflix series is one hell of a show.  I won't lie, I mainlined all 13 episodes this past week, finding myself thirsting for more each time we hit the credits.

I fell in love with her in the comics, but Krysten Ritter, Melissa Rosenberg, and company showed me how much more Jessica Jones can be in their masterful show.

It's adaptation in the best sense of the term.  There's a whole lot of change from the comics, but I think the final product is all the better for it.  The distance from the source material enables the show to pick and choose from what works and what could work better, resulting in a sum that's greater than its parts.

And it has some pretty great parts.

For example, the Purple Man is terrifying in Bendis and Gaydos' work, but he's still a Daredevil villain that existed before and after Jessica.  They do a great job of repurposing him for their needs (and Jessica's pain), but David Tennant's rendition of Kilgrave is on a whole other level.  He is very much Jessica's villain.  Others fall prey to his orbit, but they are collateral damage.  The focus for Kilgrave is always on our superpowered PI.  Sure, he has a past and personal backstory, but it's only ever hinted at - we don't get all the details, we just get enough.

And the same is true for the rest of our cast.  Our Patsy Walkers, Luke Cages, and even Jessica Jones herself.  Every character in this series is round and developed.  Throughout the show there are a whole lot of questions.  As it progresses, we get some answers, but not all, and that's because we don't need them.  More than anything, the characters' actions speak for themselves.

So maybe Why Jessica Jones is the right title here.  You're more than welcome to focus on her existence in the Marvel comic book universe, but I'll be hard pressed not to lean more heavily towards her small screen counterpart.  It's some bang-up television.  I'll come right out and say that it's better than Daredevil was (I know Ryan would disagree, but there it is).

And here we are.  We're looking at one of Marvel's most unique characters.  A superpowered being who doesn't necessarily rely on her superpowers.  A woman who will fight for what's hers.  And by anyone's definition, one hell of a hero.

The Dark Knight Returns - Elongated - P. A. Nolte

I read DKR and DKSA for inspiration this week, and Ralph Dibny really jumped out at me.  He always seems so easily overlooked in favor of Plastic Man.  For example, in his brief appearance in DKSA, he's called on to help save Plastic Man before quietly exiting the story forever.  I mean, come on.  Miller depicts him as a skirt-chasing alcoholic shilling Gingo-based products, and that was a few years before Infinite Crisis saw print.  I had to know more.

Oh, and this is written in the style of DKR's 16-panel grid.


1-3/ In a dark dressing room.  Ralph Dibny, sitting at one end of the couch, extends his arm out to grab a small tumbler he'd set down on the end table on the other end of the couch.  The half-emptied bottle of Pappy Van Winkle is on the table next to him.  He is dressed in his purple Elongated Man unitard.  The wall behind him is decorated with framed newspaper clippings and pictures of Ralph shaking hands with celebrities, politicians, businessmen, and superheroes alike.

Ralph (CAP): What am I still doing in this silly suit?

Ralph (CAP): This is my life?

Ralph (CAP): ...

Ralph (CAP): Could be worse.

4/ He finishes the drink.

Ralph (CAP): Could be sober.

5/ Ralph refills the glass.  Over his shoulder is a picture of the JLA.

Ralph (CAP): Who wazzit told me he can't get drunk anymore?  Mason?  Poor bastard.

6/ Focus on the picture.  Gathered are Ralph, Red Tornado, The Flash, Black Canary, Hawkman, Green Arrow, and Wonder Woman.

Ralph (CAP): And O'Brien's been a friggin' teetotaler since he went straight.

7/ Focus on this younger, happier Ralph.

Ralph (CAP): "That stuff'll kill ya, y'know."

8/ Focus on Ralph's big smile.

Ralph (CAP): I'm counting on it.

Ralph (CAP): Bastard.

9/ Ralph finishes the drink.

10-12/ He sinks into the sofa.  All signs of life drain away as his eyes hover vacantly at whatever passes in front of him.  The darkness of the room is oppressive.  An intern calls out through the door.

Ralph (CAP): I miss Sue.

Intern (OP): Knock Knock?

13/ The intern, wearing a headset, peeks in through the cracked door, letting light in.  Ralph gives her a grimace.

Intern: Five minutes, Mr. Dibny.

Ralph: Thanks.

14/ Ralph refills the glass.  Again.

Ralph (OP): It's a good life, I guess.

15/ Ralph finishes the drink.  Again.

16/ The empty glass.  In the background, Ralph closes the door behind him.

Ralph (CAP): Good enough.

The Dark Knight Returns - Turn the Page, Part 3 - Ray Wonsowski

Previously, young antique dealer AUGUST TURN stumbled upon an armoire that in actuality is a portal to the Dark Dimension. Doctor CLEA Strange  discovers that TURN has an eye for magicked items, and arms her new  charge as they prepare for the crossing...

Panel 1 - Interior, the antique shop. CLEA gives AUGUST the silver dagger.

CLEA: Be ready, August. The Dark Dimension is...

Off-panel: What is this?!?

Panel 2- stepping out of the armoire is a confused but angry Miller-esque DARK KNIGHT. He is huge and aggressive, ready to tear through the store.

DARK KNIGHT: Where am I?!? Do you know who I am?!?

Panel 3- CLEA wiggles her fingers, and the DARK KNIGHT warps painfully out of our reality. AUGUST hides behind CLEA in fear, as this is the first salvo of what may be a long fight.

DARK KNIGHT: I'm the goddamn BatmaAARRRGH!!!

SoundFX: FrrT!

Panel 4- CLEA walks through the distortion into the armoire, AUGUST follows close behind.

CLEA: My uncle has much to answer for...

AUGUST: Your uncle's Frank Miller?

...to be continued...

Dark Knight Returns – The Darkest Night – MK Stangeland Jr.

(5 Panels)

Panel 1: Night, just outside of GOTHAM CITY, at the entrance to a cave.

Panel 2: Continuation from PANEL 1.

SFX: (From inside cave) arg…

Panel 3: Continuation from PANEL 2 – we see BATMAN emerging from the cave. He looks worse for the wear, but still standing and ready for action; he bears a look of defiant determination against whoever or whatever might try to tell him its time to pack it up and go home, even against the world itself.

BATMAN: grrrr….

Panel 4: BATMAN stands at the entrance to the cave, looking into the night sky.

TEXT BOX (1): Striking terror.

TEXT BOX (2): Still best part of the job.

Panel 5: Panel switches to behind BATMAN to show what he’s looking at – the background that BATMAN is facing should be the skyline of GOTHAM CITY.

It’s not the skyline of GOTHAM itself that BATMAN is looking at, but rather the sky above it – the sky is lit up from countless lights being shined into the sky, resulting in either a large number of lights each forming their own little homemade version of the BATSIGNAL or a large number of smaller lights which have been coordinated to form an impromptu version of the BATSIGNAL. Which version is up to the artist depending on which actually plays out better artistically on the page itself.

TEXT BOX: But an argument could be made otherwise.

(END PAGE)

The Dark Knight Returns - Freedom of the Press - Grant McLaughlin

This takes places during the course of The Dark Knight Returns.  Pinpointing the exact moment isn't terribly important.  We are, however, working firmly in Frank Miller and Klaus Janson's 4 by 4 grid.

1 - Night.  Close-up of Superman's red boot touching down on the balcony outside Lana Lang's place of residence (obviously you can't get that latter part across in one panel; I'm just giving context).

CAPTION (LANA): I hear him touch down outside.

2 - Still outside, Superman opens the balcony door and enters the dimly lit condo.  The scene is pretty much entirely in dark silhouette, the only colour being the bright red and yellow of Superman's logo on his cape.

CAPTION (LANA): He's never been nearly as subtle as he thinks he is.

3 - Superman approaches Lana from behind.  Lana sits at her desk, facing away from Supes and working away at some writing.  A television sits in front of her, providing much of the light in the room.  Framed news stories adorn the walls around her.

LANA: Funny, I didn't think it was your M.O. to sneak up on people under cover of darkness.

4 - Close up on Superman, surprised and a little hurt by the comment.

NO COPY

5 - On the TV, the host that Lana keeps speaking with on the panel show throughout the graphic novel.  Whatever they're saying isn't clear, but a Batman symbol with a question mark through it sits behind their talking head.

SUPERMAN (off-panel): Are you going to keep defending him?

6 - Close-up of one of the framed newspapers.  It's a byline that reads "Batman: Gotham's Knight", with a "Written by Clark Kent" visible beneath.

LANA (off-panel): There was a time I wasn't the one who had to.

7-  On Lana, writing away at her work, still not looking up at Superman.  Superman is behind her, looking at one of the newspapers (presumably the one on panel 6).

SUPERMAN: He's too bright.

LANA: Funny coming from you.

SUPERMAN: You know what I mean.

8 - On Superman as he turns to speak directly to Lana.

SUPERMAN (1): His methods were always too loud, too brash.

SUPERMAN (2): It worked 20 years ago, but the world's changed.

9 - On Lana, still writing away.

LANA: I don't know what you and Lois tell yourselves.

10 - Close-up of another framed newspaper, this one titled "Where has Superman gone?" with "Written by Lana Lang" beneath.

LANA (off-panel): But maybe it isn't the world that's changed.

11 - Close-up of Lana's writings.  There's all manner of words scrawled on the paper she's working on, but the portion that should be emphasized / visible is "the world needs heroes", which should be located between the two word balloons.

LANA (1): Things have always been dark.  It used to be that you were the shining beacon in the night.

LANA (2): I don't know you can blame Batman that you stopped.

12 - Superman has moved ever closer to Lana, who still doesn't look up from her work.

SUPERMAN: His methods are all about creating fear.

13 - Lana turns to face Superman, finally losing her cool as she metaphorically (and perhaps literally) points at Superman accusingly.

LANA: And as far as I'm aware, he's never turned them on you.

14 - Close up on Superman, shocked at what he's hearing.

LANA (off-panel): So what are you so afraid of?

15 - Superman blanches, not responding.

CAPTION (LANA): He's never been subtle.

16 - Superman is gone, leaving with such speed as to blow about the many papers on Lana's desk and in her home.

CAPTION (LANA): But then, neither have I.

The Dark Knight Returns – THE BOY AND THE BOOK – Derek Adnams

Page 1 – (11 Panels)

Layout:  Like the sixteen panel grid format Frank Miller used in DKR – four panels across the top, four panels underneath, one panel in the third row and a larger Panel 10 with an insert in spot sixteen taking up the remainder of the page.

1.1:  The cover to the first edition trade paperback of Batman: The Dark Knight Returns.  It’s brand new, right off the shelf.

Caption:  Once upon a time there was a book.

1.2:  Interior, a small apartment, Christmas Morning.  A Boy of ten or eleven holding the book from Panel 1.1, smiling broadly.  There is wrapping paper littering the carpet and a decorated Christmas Tree just behind the Boy.

Caption:  And on a magical Christmas morning a boy was gifted this book.

1.3:  Interior, evening, a private hospital room in a sterile pediatrics ward.  The Boy from Panel 1.2 is lying in a hospital bed, hooked up to an IV.

Caption:  Shortly thereafter, the boy was imprisoned for what, to a young boy, seemed like an eternity.

1.4:  The Boy sitting up in the hospital bed, reading Batman: The Dark Knight Returns.  It’s night and the only light source is a lamp on his bedside table. 

Caption:  And the boy was left with only the book.

1.5:  Interior, night, the Boy’s room in the apartment from Panel 1.2.  He’s out of the hospital and sitting at a desk, drawing.  The desk is lit by a single desk lamp and the boy is wearing pajamas. 

Caption:  The boy lived inside the book, and knew that he wanted to make a book too. 

1.6:  What the Boy’s drawing: an extremely crude replica of a Frank Miller style Batman.

Caption:  But alas, the book was a force of nature and could never me replicated.

1.7:  The Boy, a teenager now, sitting at an old 1990-style word processor.  He’s behind the same desk from Panel 1.5, wearing a flannel shirt and blue jeans.

Caption:  He learned about words and for what they were meant. 

1.8:  The Boy, in his late twenties or early thirties, in a business suit, standing before a group of other people in business suits.  They are sitting around a conference table, watching the grown-up Boy giving a Power Point presentation.

Caption:  But he forgot then what he knows now and was an imitation of a happy man.

1.9:  Repeat of Panel 1.1, only a very well-worn and beaten copy.

Caption:  Then he remembered his old friend, the book -

1.10:  Large panel taking up half of the page of the Boy, now in his late-thirties or early forties, sitting at a desk, typing away on a laptop.  He’s wearing a grey t-shirt and black pants.  On the desk next to the laptop is the battered book from Panel 1.9.

Caption:  Becoming the boy again.

Caption:  This will be a good life . . .

1.11:  Inset to Panel 1.10, where a sixteenth panel would be if the 4 x 4 grid structure had been maintained for the entire page, and the smirking face of the grown-up Boy.

Caption:  . . . good enough.

Why The Dark Knight Returns?

. . . because if you were to pierce the fabric of spacetime and ask eleven year old me what I wanted to be when I grew up, I would answer “Frank Miller.”  Go back a little further to Coles Books at the Seaview Square Mall just before Christmas in 1986 and you’ll know why – there, in the science fiction section, stands a wide-eyed boy reading a book unlike anything, ever.  That boy was me. This is the book:

Batman: The Dark Knight Returns made me want to create.  This was a classic superhero presented in a manner that was bold and new.  I was too young to truly appreciate everything Miller was doing, and there are plenty of resources available that deconstruct the work, but upon reading it again, for the first time in about 20 years, I can see how it made its way into the pages I write.  My penchant for “talking heads” scenes is a direct correlation to the repeated television screens used throughout Dark Knight Returns, only without the subtext that the newscasters, experts and pundits bring to Miller’s work.  Early in my writing I tried to jam as many panels onto a page as possible, subliminally borrowing from the 16 panel grid layout Miller used to heighten the sense of a claustrophobic Gotham City.  I just didn’t know how to tell a story.

As a kid, the grand vision of Batman: The Dark Knight Returns was lost on me.  What wasn’t lost on me were the images – iconic and beautiful.

Like this, the Dark Knight ready for battle:

Or the Dynamic Duo leaping through the night:

And of course the simple cover from Issue #1:

But the image that stuck with me the most was this page, and what Bruce says before dying:

Followed by Superman cradling the body of his fallen friend, telling the soldiers “Don’t touch him.”

This is the type of book I wanted, and still want, to create, and every time I sit in front of another blank page, eleven year old me appears as a reminder that I will never be able to “touch” this masterwork from Frank Miller.

But that doesn't mean I can't try.

One page at a time.

Jay Garrick – Record Keeping – MK Stangeland Jr.

(6 Panels)

Panel 1: JAY GARRICK is punching PER DEGATON in the face.

TEXT BOX (1): .2 Seconds

TEXT BOX (2): It hits with the force of a love tap, the velocity alone practically makes it a knockout punch.

Panel 2: Speed lines follow JAY GARRICK as he transitions to standing slightly behind and to the side of PER DEGATON, but with his arm out positioned behind PER DEGATON’s head. The result is that everything behind PER DEGATON’s head has swung up as result of being clotheslined from behind.

TEXT BOX (1): .5 Seconds

TEXT BOX (2): The force of the first punch is enough to do the heavy lifting on it’s own.

Panel 3: PER DEGATON is in the air, horizontal. He’s yet to realize what’s hitting him. JAY GARRICK stands next to him, his elbows hitting down from above, but with a lot of speed and not very much actual force.

TEXT BOX (1): 1 Second

TEXT BOX (2): Hitting the floor is arguably the nicest way of knocking him out – the force is distributed more even that way.

Panel 4: PER DEGATON hits the ground at high speed, cracking the ground a little as JAY GARRICK stands over him.

TEXT BOX (1): 1.5 Seconds

TEXT BOX (2): Attempts to recall what happened will likely feel like amnesia.

TEXT BOX (3): Not because of brain damage, but because it happened too fast for his brain to process.

Panel 5: Flashback – PANELS 1-4 are compiled together to show the full 1.5 second as they happen together in one image.

SFX: KRAK!

Panel 6: JAY GARRICK stands over an unconscious PER DEGATON.

TEXT BOX: And that knockout didn’t even happen at top speed.

(END PAGE)

...And We're Back!

Apologies for our absence.

If you've found us again, welcome back.  If you're here for the first time, we hope you enjoy your stay.

There's all manner of story behind what's been happening these past two weeks, but the long and short of it is that we're back.  The link you'll use to find us has changed, but the exciting and stimulating scripts you've come to expect will remain the same.

We have not been idle these past few weeks.  Among other things, you can see we've obtained a new banner to top our page (courtesy of a good friend of mine, the talented Nick O'Gorman).

Thanks, Nick!

Beyond that, our immediate intention is to pick up where we left off, finishing up David Press' Jay Garrick Week before continuing with our regular scheduled programming.

Of course, with a new url, not everyone will know where we've gotten off to.  Therefore, if you could do us a favour and provide some signal boosting for the new TB.org, that would be grand.

Hope you're excited for the return.  I know we are.

Jay Garrick - Legacy - P. A. Nolte

1/ The Crimson Comet, Jay Garrick, is speeding after The Fiddler's custom violin-shaped car.  A henchman in a full black bodysuit with a white note on the face is driving.  Another in a matching suit, albeit with a different face note, is clutching a misshapen bag in one hand, trying to keep it inside the vehicle, and what looks to be a Grammy in the other.

Jay Garrick (cap): When I first became The Flash, I was terrified.  Imagining all my shortcomings catching up to me.  What might happen when they did.

2/ In the parking lot of a nuclear power plant, Alan Scott and Hawkman fly high into the air, hurling a bolt of green energy and nth-metal mace respectively at the Ultra-Humanite, who is standing on the hood of a car.  In one hand, he has Ted Grant, the Wildcat, who is desperately trying to claw his way free.  In his other is the limp body of an unconscious Dr. Fate.  Running around from the back of the car and getting as close to Ultra-Humanite as he can while still avoiding the enormous albino gorilla's reach is Jay Garrick.

Jay Garrick (cap): When we formed the JSA, I was terrified.  It was bigger than stopping muggings and robberies.  Were we toying with powers we shouldn't have?

Ultra-Humanite: TOO LATE, YOU ILLITERATE FOOLS!  ONLY I COULD DEVISE A WAY TO SUPERCEDE DRAMATIC IRONY!  NOW I HAVE BECOME PHYSICALLY AND LITERALLY UNSTOPPABLE!

3/ Impulse, Wally West, Barry Allen, and Jay Garrick all braced against starting blocks on a race track.  Mostly profiles.

Jay Garrick (cap): But looking back, I think what terrified me the most is what came the most natural to me.  Truthfully, it became my greatest adventure.

Jesse Quick (OP): Oh, boys...  Do you four really have to do this right now?

Jay Garrick (cap): Who would have thought?  Jay Garrick--

4/ A stadium.  Professional, collegiate, high school.  Doesn't matter.  What draws attention is the collection of speedsters and other heroes that have gathered.  Max Mercury, Liberty Belle, XS, and more.  Even a few villains like Cobalt Blue and Inertia.  In front, holding up a football, is Jesse Quick.  Everyone, including the four men who were just about to take off in yet another race to prove who among them is the fastest, are wearing flag football belts in addition to their usual costumes.

Jesse Quick: We have a game to play.

Jay Garrick (cap): A family man.

Jay Garrick - Turn the Page, Part 2 - Ray Wonsowski

Previously, CLEA is brought to the antique shop of AUGUST TURN, who shows her an armoire that is actually a gateway to the Dark Dimension.

Layout:
122
345

Panel 1- Background, Interior of the shop, antiques everywhere, most prominent is the open armoire, abstract energy beginning to emanate forth. Foreground, AUGUST stands behind CLEA, the Eye of Agamotto having floated upon her forehead, glowing mystically.

CLEA: How long have you been collecting for your shop?

AUGUST: Year, year and a half. Why do you ask?

Panel 2- POV, as CLEA, looking out at the store. Numerous items gleam white with power.

CAPTION, CLEA: It seems you have a gift for the esoteric. For example...

Panel 3- CLEA stands at a china hutch, holding the winged helmet of Jay Garrick gingerly, regarding it respectfully as AUGUST looks on timidly.

CLEA: ...this helm was touched by one of your Greco-Roman gods. It actually hails from another Earth, and blessed its agent with superhuman speed during that world's second World War.

AUGUST: ...wow...

Panel 4- CLEA hands the winged helmet back to AUGUST reverently, but something else, a dagger on a writing desk, has caught her attention.

CLEA: This runner was so fleet, he broke the barriers between worlds, and started a legacy of speedsters that will pass through generations and across the multiverse.

Panel 5- CLEA holds the dagger up to her face. It is silver, and simple, but sharp and gleams in the Eye on her forehead. AUGUST looks over her shoulder again, a bit more nervously.

AUGUST: What happened to him?

CLEA: What eventually happens to all runners. And heroes.

CLEA: He fell.

To be continued...

Jay Garrick - Priorities - Grant McLaughlin

1 - On Jay Garrick's hands as he hangs up his signature helmet on a wall hook.

JOAN (off-panel): Are you sure about this?

2 - An older Jay - somewhere between his heyday and his former incarnation prior to the New 52 reboot - wearing civilian clothing turns from the hanging helmet and looks to his wife Joan, who sits at the kitchen table.

JAY: There was a time when I didn't think I ever would be.

3 - Jay moves to the table and pulls out a chair to sit.

JAY: But I am, Joannie.

4 - Jay and Joan sit together at the table, smiling those fond, happy smiles that only two people who have been together for so long and love each other so much can.

JAY (1): I've been at this a long time.  Done a lot of things I'm proud of.  A lot of things I didn't think I'd be able to do.

JAY (2): But time catches us all.

5 - On Jay and Joan's hands, which are clasped / intertwined on top of said kitchen table.

JAY (off-panel): And at the end, there's only one thing I'm worried about missing out on.

Jay Garrick - The War at Light Speed - David Press

PAGE ONE.

1.1: We’re on the beach and a LAND MINE blows. It sends TWO ALLIED SOLDIERS flying through the air. I don’t think there’s much need to get too graphic about this, the point of this page is to see how war might affect a speedster.

CAPTION [LOCATION]: Normandy, France. 1944.

CAPTION [JAY]: Have you ever seen a land mine explode over what feels like a week? Of course not.

1.2: CUT TO A SHOT of a black-and-white photo of Jay. Let's say it's a medium shot so it's from the chest up: he’s young, smiling with big dimples. It’s black and white. His hair slicked back and he’s wearing an Army uniform. The photo, kind of an old Polaroid, has a white rim around the photo. Perhaps you can just use the gutter as this frame? Anyway, on this frame is the date, written in cursive:

DISPLAY: July 11, 1939.

1.3: BACK TO the WARZONE, and a similar shot of Jay’s face complete with strapped on helmet and wings. There's mud and some other things that might not be mud all over it. He’s weary, there are more lines than dimples on his face now and he looks exhausted, like he’s aged ten years.

CAPTION [JAY]: I’ll spare you the details, but this war feels like it's gone on for ten years. It’s 1944 and it’s happening again.

1.4: Panning all the way back to see a streak of blue and red and yellow fly into the cloud of the bursting LAND MINE.

CAPTION [JAY]: A week watching someone die.

1.5: In his arms, Jay uses his forward momentum to carry the Land Mine victims out of the fray. A tunnel of wind flies behind them.

CAPTION [JAY]: Usually, I have two seconds to get our guys to the wounded tent before they start to bleed out.

1.6: He makes it to a tent and lays ONE SOLDIER down on a bed. A NURSE is already over by the bed.

CAPTION [JAY]: I don’t fight; I rescue.

NURSE: Flash! You’ve done it again.

JAY: I managed to get them away before the shrapnel tore them to shreds. I would say at least shellshock and a strong concussion.

1.7: BLACK PANEL with the caption’s text in white over it.

CAPTION: Over the course of his 1, 461 days of service during World War 2, Sgt. Jay Garrick saved the lives of 10,121 Allied infantrymen.

Why Jay Garrick?

It’s the helmet. Duh. No, not that cyclist’s helmet from the Earth 2 comics, though I do like that characterization of Garrick. He's the Spider-Man of Earth 2. He gets along with everyone, is a smart guy, but kind of a screw-up, and can move between the players. Really, what’s always intrigued me about this version of The Flash is he was the first, and how can fit in anywhere. 

What would the Flash have been like in World War 2? He can be like Captain America, or he can be the new kid I mentioned in Daniel Wilson’s take, which is pretty fascinating coming from a guy who wrote a hard sci-fi novel called Robogenesis. The other thing he can be, since he’s now a regular on the Flash TV show, is he can be a mentor too.

Personally, I’ve always obsessed over the Jay Garrick Flash. It might be his retro-style and my borderline-nauseating hipster sensibilities, but I’ve been a fan of this character since I could barely walk. I’m excited to see what everyone does with him.