Emma Frost – Cold Shoulder

The following takes place after Uncanny X-Men #534.   Emma has just told Scott Summers about her wiping Sebastian Shaw’s mind.

I am not usually one to describe the sizing of panels, but Panel two should be larger than the others.   The final 3 should be all of the same size, and appear on the same line.

1. Emma sits in her bed, night ware still on.   The bedding still covers her lower torso, Emma looking very nonplussed.

EMMA

Scott darling, it’s not that big of deal.

2. Scott Summers is standing beside the bed, also in his bed attire (I’m guessing just wearing boxers).   He has his hands extended in outrage.   Emma is slightly more animated than in the previous panel

SCOTT (1)

Don’t patronise me Emma!   Do you remember what happened the last time someone’s mind got wiped by a powerful telepath?

EMMA (1)

Oh please Scott this is completely different.   You’re being a tad precious about it.

SCOTT (2)

No Emma.   You made a drastic decision without consulting anyone.   As your partner both privately and professionally you should have discussed this with me.

EMMA (2)

Just like you discussed the forming of a hit squad with me?

SCOTT (3)

That was a decision made to protect an entire race.   The only person protected by your decision was you.

3. Scott has turned away from Emma, his head slightly bowed as if he is finally saying something which he has known he would have to say for some time.

SCOTT

Just when I think you’ve turned a corner, you show that you’re still the same egomaniacal, self-centred person you always have been.

4.   A close up of Emma’s eye, open wide in shock

SCOTT (off panel)

I think you should leave.

5. Same as Panel 4, however a tear is falling from the eye.

6. Same framing as Panel 4, but Emma’s eye no longer looks shocked, but hurt. Her skin has turned to diamond, the tear gone because of it.

Venom – Hide and Seek

1. Night.   A girl running is through the windy woods, scared.   There is a cabin in the distance, which she is desperately trying to get to.

CAPTION:   You cannot run.

2. The girl has reached the cabin, and has slammed the door shut behind her.   A shadow of a head has begun to appear on the lower third of the door, as someone is approaching it.

CAPTION:   You cannot hide.

3.   We see the girl has sat in a corner of the old cabin.   Her knees are pulled up to her chin.   She is extremely scared.

CAPTION:   We will always find you.

4.   From the girl’s point of view, we see the door kicked in by large, muscular figure which stands before her.   We cannot make out any features of this man, as he is just a dark silhouette as lightening flashes outside.

CAPTION:   Don’t fight.

5.   Back to the same angle as Panel 3.   The man’s shadow covers the cowering girl, with his arm reaching for her.   The girl is looking up through her fingers.   The only emotion that we can see on her face through her fingertips is that of fear.   Tears stream down from her eyes.

CAPTION:   Accept us.   Let us out.

GIRL

NO!

6.   This panel is just of the word CHOMP.   It should look bloody and sickening.

7.   The man is on the ground, staring in horror at the bloody stump of where his arm used to be.   Venom stands above the man, having just transformed from the girl.   Blood drips from its grinning jaws.

VENOM

Yessssssssssssss.

Power Man and Iron Fist – What’s in a Name?

The following takes place in the year 2104 – 5 years after 2099 (obviously).   Previously, Miguel O’Hara aka Spider-Man 2099 has discovered that all of the corporations that rule the 2099 world fall under the control of just one man - Mr. Hikaru, CEO of Stark-Fujikawa.   As such, Mr. Hikaru rules all of North America.   He is not a kind dictator.   The following scene is the first time Miguel and Mr. Hikaru meet each other.   Miguel has crashed into Mr. Hikaru’s office via a window.

1. Miguel O’Hara stands in his Spider-Man suit.   His mask is off.

MIGUEL

You’re through ‘Power Man’.   Or ‘Iron Fist’, or whatever name you’re going by now.

2.   An elderly Japanese man stands in an expensive office.   He looks both feeble yet threatening at the same time, dressed in traditional Japanese wear.   Both of his hands are behind his back, with splinters of glass from Miguel’s entrance littering the floor surrounding him.   This man is Mr. Hikaru CEO of Stark-Fujikawa, and as Miguel has only recently found out, the man his late father reported to when he ‘owned’ Alchemax.

Behind Mr. Hikaru is a desk, with the Avengers symbol predominately on display (note: This is the symbol for the man’s company, Alchemax.   It is identical to the Avengers symbol).   A large window stands behind the desk. Out that window we can see the world of 2104 – cars flying past, large skyscrapers, etc. There is a large hole in the window where Miguel has broken through.

MR. HIKARU

I prefer Master, young O’Hara.   Something your father learned to call me.   As will you, in time.

3.   Miguel is coiled into a classic Spidey pose.   Close to the floor, ready to pounce.   He is angry.

MIGUEL

I am not my father, and you are anything but my Master!

4.   Miguel is in mid-air, talons outstretched, ready to strike.

5.   A fist which appears to be made completely of metal has punched Miguel across the jaw.

SFX: CLONK!

6.   Miguel is crumpled on the ground, holding his broken jaw.   The fist of iron is visible in the right hand side of the panel.

MR. HIKARU

The names ‘Power Man’ and ‘Iron Fist’ do not only refer to the way I rule this company, and this country, young O’Hara.

7.   Mr Hikaru is standing, smirking with his fists clenched.   Both of his arms are coated in metal, with a yellow surge of power, almost looking like electricity, covering him.   It appears to be emitting from his eyes.   He looks powerful.

MR. HIKARU

No, unfortunately for you the meaning is quite literal.

1. Night in Central Park.   Dr Strange is big, towering over the score of heroes who are in front of him.   Spider-Man, Captain America, Thor and Iron Man are most noticble in the small pack, all looking up at the giant Doctor.   Raw power crackles from Doctor Strange, his eyes flaming with magics.   He looks evil/possessed, and is not is not dressed in his Sorcerer Supreme get up. The eye of Agamotto is nowhere to be seen.  

CAPTION

“Power tends to corrupt, and absolute power corrupts absolutely.” – Lord Acton, 1887.

2. Front shot from our point of view of Spider-Man, Captain America, Thor and Iron Man running towards the Doctor.  

CAPTION

“Unlimited power is apt to corrupt the minds of those who posses it.” – William Pitt, 1770.

3.   Same as Panel 2, however the ground has engulfed Thor, encasing him up to his neck in rock.   Only his head is visible.   The other heroes look on shocked.

4.   Iron Man is turned into a statue of iron, Captain America into a toy robot and Spider-Man into Spider-Ham.

CAPTION

“He who controls others may be powerful....”

5. Doctor Strange is smirking sinisterly, the magic around him flowing almost out of control.

6.   Wong is standing in front of the Doctor.   A look of determination is on his face.

CAPTION

 “...but he who has mastered himself is mightier still.” – Lao Tzu, 534 BC.

7.   Same as Panel 1, with Doctor Strange large and looking down.   However, Wong is the only figure standing before him.

CAPTION

 “When the power of love overcomes the love of power, the world will know peace.” – Jimi Hendrix, 1968.

1. We are looking down on a cell. Half of the cell is bathed in bright light, while half appears to be in darkness. We can see a faint outline of a bed, and a table. On the table is a large glass of water, with a glass. On the light side are some shabby rags in a pile. There is also a table with a large glass of water on it, however the water inside is visibly dirty. A single figure sits towards the back of the cell, knees pulled up to his chest. His arms are holding his legs, his head face down, resting on his knees. He is dressed in rags. An IV drip hangs from his arm, with enough length on it to surmise that this person could move around freely with it still attached. The IV drip goes into the wall.

REILLY (Caption)
A fight. Black. This cell.

REILLY (Caption)
Norman did it. Caught me by surprise. Replaced me with another clone, and killed it. Everyone thinks I’m dead. Peter...

2. A close up of the man, his head raised. It is a severely thin and malnourished Ben Reilly. His blonde hair has grown out and been hastily cut, with the original brown hair grown in its place. He once again looks identical to Peter (besides the severely thin and malnourished part).

REILLY (Caption)
May as well be...

REILLY (Caption)
I AM the clone. Norman told me that. Repeatedly.

3. Reilly is standing up, the best as he can. His gaunt frame almost folds under its own weight.

REILLY (Caption)
No way to think. Too weak to keep trying to escape. Just have to survive.  Thirsty.

4. Reilly’s hand is touching the glass in the white.


5. Reilly being electrocuted, due to touching the glass of water on the light side of the cell.

REILLY (Caption)
YARGHHHHHHH!

6. Reilly looking towards the dark side of the cell. His face is that of a broken man.

REILLY (Caption)
I’m only the clone. It won’t matter. Just...just so tired.

7. Reilly walks into the dark side of the cell from the light.

REILLY
Sorry, Peter.

GREEN GOBLIN (off panel)
AHAHAHAHAHAHAHAHHAHAHAHA

1. A badly beaten Gambit is slumped on his knees, in the middle of rubble.   His face bruised, swollen and bloody.   His fingers and hands are visibly broken.

2. A tighter shot of Gambit’s face as a large hand grabs him by the throat.   He doesn’t try to resist.

3.   Apocalypse is holding Gambit in front of him, effortlessly.   He is staring at Gambit with a look of curiosity, even though an evil smirk lines his face.   Gambit appears limp in Apocalypse’s grasp.

APOCALYPSE

Now, allow me show you what it means to bring death

GAMBIT (in a weak voice – he’s obviously dying)

Oh, I remember.   *cough*

4.   We are looking at Gambit’s face, with Apocalypse’s hand visible has t chokes the remaining life from Gambit.   Gambit has a smile on his almost unrecognisable face, his clothes having a light pink shade to them.

GAMBIT

Je suit mort.   I am now dead...

5.   Back to the framing of panel 3, however Gambit now has both hands around the wrist of Apocalypse.   Gambit’s clothes is now glowing a bright pink, as he charges them with kinetic energy, as is the metal body armour of Apocalypse.

GAMBIT

...and so are you.

6.   A mostly white panel, with the etched outline of both Gambit and Apocalypse being torn apart by the explosion.

Mr Fantastic - Upgrade

1. Sue Storm is in Reed’s lab.   There are plenty of machines and screens about.   Nothing we haven’t seen before.   Sue is looking for her husband.

SUE

Reed.   Reed.

2.   Sue has noticed a machine is slightly away from the wall, revealing a crack.   There appears to be a hidden door behind it.

3.   Sue makes part of the wall invisible so that she may see within the secret room.   It is dark, the only source of light coming from a large computer screen.   On it are images on it of villains that the Fantastic Four have faced recently.   There are technical readings all over the screen - lots of information.   We can only see a silhouetted figure sitting in front of the large screen (we can tell that it is Reed Richards).   Silhouetted of tubes and cables running to and from the seated figure are also visible.  

4.   Sue has pushed the machinery blocking the hidden door aside with her force field, also opening the hidden door with it.

5.   A close up of Sue’s face.   She looks worried.

SUE

Reed?

6.   A wide panel of Reed, with Sue visible from behind in the corner of a panel.   Reed is seated in front of the huge screen.   With the light now flooding in from the open door, we can now see that Reed has cables running from his suit to the large computer he sits in front of.   However, more cables are wired directly to his head.   Data and figures fill the screen.

REED

Susan?

SUE

What are you.....

REED

It’s fascinating.   I’ve discovered a way to use my abilities to wire myself into computers.   Given that computers are the only machine built to mimic the human brain, the two were surprisingly compatible.   As such, I’ve devised a way to gather the data recorded by our suits in battle, and feed the data directly into my cerebrum.

7.   A close up of Sue’s face.   She looks horrified.

REED

Our enemy’s vulnerabilities and attack patterns at immediate call.   Not only data on our enemies, but that collected on friends and allies, even on ourselves, or our surroundings.   It will all be stored within my brain.

REED

I’m a living computer, Sue!

1.  

CAPTION

'Twas the night before Christmas, when all through the house

Not a creature was stirring, not even a mouse;

The stockings were hung by the chimney with care,

In hopes that St. Nicholas soon would be there;

A non-descript man sits in bed reading by the light of his bedside lamp.

2.

CAPTION

When out on the lawn there arose such a clatter,

I sprang from the bed to see what was the matter.

I ran down the stairs, to see the cause of the sound;

As down the chimney St. Nicholas came with a bound.

To the right of panel we see the back of the man, stopped just before the staircase ends.   He is looking into his lounge room, where a large Christmas Tree is set up.   Underneath are many wrapped presents.   In front of an old style chimney is the recognisable fat bearded man known as Santa Claus.

3.  

CAPTION

He was dressed all in fur, from his head to his foot,

And his clothes were all tarnished with ashes and soot;

CAPTION

A bundle of toys he had flung on his back,

He looked like a junkie, addicted to crack.

His eyes – they were small! His mask how merry!

It was Deadpool Santa, drunk on sherry!  

A close up of Santa.   He is actually Deadpool dressed as Santa.   And he’s drunk.

4.  

CAPTION

He had a broad face and a little round belly,

That shook, when he laughed like a bowlful of jelly.

He was chubby and plump, he’d let himself go,

And I laughed when I saw him, he called me a ‘Mo’;

A full shot of Santa-Pool standing in the lounge room.   He is giving our narrator the thumbs up.

5.  

CAPTION

A wink of his eye and a twist of his head,

Soon gave me to know I had something to dread;

He spoke not a word, but went straight to his work,

But tripped over the tree, like some jerk.

Santa-Pool tripping over some electrical cords, which we can see will result in him falling into the brightly lit Christmas tree.

6.  

CAPTION

The cords that were laid, to power the lights,

All of the sudden they caught alight.

The fire did spread, to the curtains and floor,

So jolly St Deadpool, ran out of the door.

The entire lounge room is on fire, with Santa-Pool running through the open door to outside.

7.   Santa-Pool’s sleigh is in the air, getting smaller in the distance.

CAPTION

He slumped to his sleigh, to his team gave a whistle,

And away they all flew like the down of a thistle.

But I heard him exclaim, ere he drove out of sight,

“Merry Christmas to all, and to all a good OH CRAP MY PANTS ARE ON FIRE!”

The following contains a minor spoiler.  It is not essential to the plot, but does spoil a transpiring nonetheless.

1. We are looking down on a table.   A football sits on a table amongst some wrapping paper.   It has been well worn, but is still in reasonably good shape.   The wrapping spread underneath it is obviously supposed to wrap the ball.   A homemade card can be seen poking out from underneath the wrapping paper.  

2. The football is half in shot, bits of discarded paper and sticky tape are sprawled across the bench.   Someone has obviously had a hard time trying to wrap the ball.

3.   Rick Grimes sits at the table.   His head is bowed, hand on his forehead.   Although we cannot see his eyes, we can tell he is looking at the stump on the end of his arm.   In front of him is the ball he was trying to wrap.   He looks deflated, defeated.  

4. A close up of Rick’s face.   Most of it is shadowed, his good hand blocking the light.   Tears have welled in his eyes, with fresh trails staining each of his cheeks.

RICK

I’m sorry.

This page has 6 panels.   All are of the same size, with 2 panels appearing on each line.

The following takes place at some point.

1. Scott Pilgrim and Ramona Flowers are walking hand in hand.   From Scott’s pocket is a tiny ‘breep’ sound effect, as he has received a message on his phone.

RAMONA

When did you get a cell?

2.   Close up of the mobile screen.   It reads’

Mr Pilgrim, It has come to my attention that you are dating my girlfriend Ramona Flowers.   Prepare to fight.

3.   Scott is looking at Ramona, his mobile still in his hand.  

SCOTT

I thought you only had seven evil ex-boyfriends.

RAMONA

I did....  

RAMONA

Oh, wait, there was this one guy who was obsessed with me.   He was convinced that we were dating when we never were.

SCOTT

What was his name?

4.   The same panel, however Scott and Ramona are looking straight ahead, eyes wide.   There is a “THWOMP” sound effect over their heads, as something has just landed right in front of them.

ROMONA

Ken.

5.   This panel shows what the two are looking at.   It is Ken Masters from Street Fighter 2.   He is dressed in his red Gi.   He is tightening his black belt, ready to face Scott in combat.

6.   Same panel of Scott and Ramona, with Scott’s hand waving nervously.   Scott looks both star struck and frightened (very wide eyes).

SCOTT

How do, Ken.