The Thing - To Be A Hero - Ben Rosenthal

The following takes place shortly after the Silver Surfer has fled Planet Sakaar (during Planet Hulk).

1. The Silver Surfer stands on his board, in the middle of deepest space.   He is rigid, both fists clenched at his side.    

CAPTION: They imprisoned me.

2.   A closer version of the previous panel, focusing on the surfer from the lower torso up.   Power is emanating from his body.   He looks angry.

CAPTION: Forced me to commit acts of brutality for their entertainment.

3.   A close up of the Surfer’s face.   His teeth are clenched together, and his eyes shut as he attempts to control this emotion.

CAPTION: Why is this particular emotion so strong?   I feel it seeping through my veins, screaming for me to unleash it on those who wronged me.

CAPTION: This rage. I fear it shall consume me.

4.   The same as the above panel, however the Surfer has calmed down somewhat as he attempts to enter into a meditative state.   Traces of anger still mark his face, mixed with concentration and pain.

CAPTION: I just...... I just need some time.....

1.   Lara Croft is standing to the left of the panel.   We see her mostly from the back, but is at an angle that we also get a side profile of her as well.   She is dressed in her classic blue top and green shorts, and a gun in each hand.   She is looking out over a room full of Egyptian hieroglyphics.

CAPTION

“I’ve been on its trail for years, ever since the beginning.”

2.   Lara is standing the same as the previous panel.   She is now dressed in brown crop top and brown pants.   In front of her is a large waterfall, with the slight hint of fire coming from behind it.

CAPTION

“I’ve come close to getting it, only for it to be revealed as fake.”

3. Lara is again in the same pose, but this time sporting a blue long sleeved top and grey cargo pants.   She is looking out over rubble of a long forgotten city within the Amazon.

CAPTION

“Now though ... now I have it.   I’m sure of it.”

4. Lara is in the same pose as the other panels.   However this time she is wearing her full body black leather costume.   She is standing in the middle of the Colosseum in Rome.

CAPTION

“Here’s hoping it works......”

CAPTION

“Up, Up, Down, Left, Right, Up, Right, Down, Right.”

6. The panel reads ‘Code Accepted.   Nude Lara Croft is now playable’

CAPTION

“It works!   After all these years – it works!”

7. We see panel 4 again, exactly the same however this time Lara is standing nude.  However, black bars cover her naughty bits.   ‘CENSORED’ is written across them.

CAPTION

“DAMMIT!”

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

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

OWEN:   How is your tea?

STRANGER: Nice.   Gone a little cold though.

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

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

STRANGER:   How did you do that?

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

STRANGER: You can shake molecules?

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

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

5.       OWEN looks up at the stranger.

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

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

STRANGER: Awesome.
 

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

OWEN: God I’m bored.

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

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

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

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

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

The rest of the story is a “Buddy Road Trip” type of story, as the two travel through America.   I would probably throw a cliché in there, such as Deadpool’s assassin bag of guns ‘n’ stuff becoming mixed up with a bag of diamonds which belongs to some crooks.   I just really like the idea of a person with God-like power being bored out of his brain because of them, and an invulnerable out of his mind assassin on a road trip.

The Devil’s Turn

The following song is called ‘Rose’s Turn’ sung by Bette Midler (albeit somewhat edited).    Download it so you can feel the anger that rises from this song.   Alternatively, download the cover that was shown on Glee.

1. Daredevil sitting on his throne in Shadowland, hours after killing Bullseye.   His head is bowed, deep in thought.  

MUSIC BALLOON

Why did I do it?
What did it get me?

2. A montage of memories of those who are close to Matt, and how they have been hurt by him – Elektra slain by Bullseye, Karen Page killed by Bullseye, Foggy with multiple stab wounds, and Foggy revealing himself to be alive.  

MUSIC BALLOON

Scrapbooks full of me in the background.
Give 'em love and what does it get ya?

MUSIC BALLOON

What does it get ya?
One quick look as each of 'em leaves you.

3. The Dark Avengers receiving accolades. Hawkeye/Bullseye is grinning widely.

MUSIC BALLOON

All your life and what does it get ya?
Thanks a lot and out with the garbage,
They take bows and you're battin' zero.

4. Punching Bullseye hard on a rooftop in Hell’s Kitchen. This is the beginning of their fight in Shadowland #1.

MUSIC BALLOON

Well, someone tell me, when is it my turn?
Don't I get a dream for myself?

5. Daredevil has brutally broken Bullseye’s arms.

MUSIC BALLOON

Starting now it's gonna be my turn.
Gangway, world, get off of my runway!

6. Daredevil is sticking a sai into Bullseye’s chest, the same way Bullseye killed Electra.

MUSIC BALLOON

Starting now I bat a thousand!
This time, boys, I'm taking the bows and

7. A close-up of Daredevil’s mask, focusing on the eyes.   He is looking up slightly; his red eye covers a stark contrast to his black costume.

MUSIC BALLOON

Everything’s coming up red...

The following does not take place in any continuity, nor should it.   Ever.

 PAGE 1 - 4 equal sized Panels

1.   We join the comic with Mary Jane getting ready to head out on the town.   Wearing an expensive flashy black dress, there is a knock at the door as Mary Jane is putting on her ear rings.   She rises to answer it.

2.   The panel is of the open door.   We see the edging of the door frame, as well as the back of Mary Jane as she looks through the open door.   Standing in the doorway is Mephisto.   His hair is slicked back, holding a box of chocolates in one hand, wilted flowers in the other.   Behind him is the long hallway of the apartment building in which Mary Jane lives.   There is a shadowed figure walking up the hall in the distance.

MEPHISTO

Hellooooooooooooooooo Mary Jane.

MJ

Mephisto?

MEPHISTO

I was just in the neighbourhood, and thought I would swing by and see if you were up for going out and painting the town ‘red’.

MJ

Ah, thanks for the offer Mephisto, but I already have a date for tonight.

3.   Same framing as before in this panel, however poking his head from the left hand side of the door frame is Peter Parker.   Mephisto’s mouth is open in shock, his shoulders slumped slightly forward and the flowers drooping a little lower.

PETER

Hey MJ!

MEPHISTO

What?!   Him?   No, you two broke up!   I broke you up!

 
PAGE 2  - 4 Equal Sized Panels

4.   Same framing as the panel before, however Peter has stepped into the door frame so that he and Mephisto are standing side by side.   It is here we can see that Peter too holds a box of chocolates and a small bunch of flowers, obviously picked from the roadside.   Peter is looking at Mephisto with a puzzled look on his face.   Mephisto’s flowers are now ablaze.  

PETER

What are you talking about J.J?

MEPHISTO

No Peter I am not J. Jonah Jameson. I am Mephisto, The King of Darkness.

PETER

...

MEPHISTO

The Prince of Lies?

PETER

...

MEPHISTO

Collector of Souls?

5.   A wider framing of the previous panel.   MJ can now be fully seen in the panel, with Peter still looking at Mephisto confused.

MJ

I thought you collected marriages now?

MEPHISTO

Pft, yeah right.   I only use that one when I want to have a crack at someone’s wife.   So far you two are the only ones to have bought it.

PETER

Listen Mister, I don’t know why you’re collecting shoes but I’m here to take MJ out on a date!

6.   Same panel, but Mephisto is looking at Peter.   There is another shadowed figure in the distant hall.   Mephisto’s flowers are again wilted, with a slight tinge of smoke coming from them.

MEPHISTO

Shouldn’t you be at home making out with your Aunt or something?

MJ

Sorry tiger, but as I said I already have a date for tonight.

PETER

Who?

7.   Again, the same panel.   However towering behind Mephisto and Peter is the slick looking Norman Osborn.   He is wearing his token green suit and white shirt (purple tie optional), holding a massive and impressive bouquet of roses.   Peter is glancing up sideways at Norman with a look of shock and disgust.   Mephisto’s flowers are in full bloom.

NORMAN

Mary Jane.   Parker.   Mephisto.

MEPHISTO

Hey Norm.

PETER

What? HIM!   You’re going on a date with the devil himself?

MEPHISTO

You really need to start wearing your glasses again.

NORMAN

Now, now Peter.   All of my sins are in the past.   Mary Jane, shall we?

8.   We are looking from the doorway, but this time Peter and Mephisto, who are still standing side by side, have their backs to us.   Between the two we can see the distant figures of MJ and Norman walking away, arms linked.   It looks as if MJ is laughing in her airheaded way at something Norman has just said.

PETER

So what do we do now JJ?

MEPHISTO

God I hate you Peter.

In the bottom right hand corner of the panel one of Mephisto’s flowers has a face on it, and is winking at the reader.   Underneath it says “The End”.

  This page consists of 6 panels. The first panel take up half the page in length, and also half the width. Panels 2 and 3 are to the right of this panel, each taking up half the length of Panel 1, so that they are on top of each other. Panels 4 and 5 are identicle in size, as Panel 6 again takes up half of the full page's length and width.



1. A wide panel looking down on a room. A large double bed is at the centre of the panel. Jubilee is lying in the bed, eyes closed as if asleep. However, she is clutching at the sheets, clearly looking uncomfortable.

TEXT BOX: “How many things can a 20 year old gal be?”


2. A closer shot of Jubilee, from the chest up. There are lines on her forehead as she frowns. It looks as if she is having a bad dream.

TEXT BOX: “Mallrat, Sidekick, Human, Vampire...”

TEXT BOX: “Like, I’ve had and lost powers more times than Magneto!”


3. Closer on Jubilee, now from the neck up. Sweat has begun to bead from Jubilee’s forehead. Her lip is curling back in pain. The colours in the panel have also gone slightly opaque, looking a few shades lighter.

TEXT BOX: “And that’s what it always comes down to – powers.”


4. Closer again, this time from the chin up. We can still see all of Jubilee’s head. The same panel as above, however Jubilee’s face is showing slightly more pain. The colours of the panel are whiter still.

TEXT BOX: “My powers are in my DNA. You can’t stop them any more than you can make my eyes blue or hair green.”


5. A tight shot on Jubilee’s face. A mostly white panel with the feint outline of Jubilee’s shocked and pain ridden face. Her eyes are open wide, and mouth gaping – wrestling with a scream which refuses to come.

TEXT BOX: “You can suppress them for a while, but eventually they will...”


6. A mostly white panel. We can see a faint outline of a female amongst the bright light. She is floating, composed entirely of light. She looks powerful, with light bursting from her, and at the same time being a part of her.

TEXT BOX: “...explode.”



Basically, Jubilee becomes an Omega powered mutant with powers similar to that of the Living Laser (but wayyyy cooler). She would be the first of some (or possibly all) of the depowered mutants to have her powers come back after laying dormant for so long.

This would lead to some of these said mutants, who would have similarly ramped up power levels, taking vengeance on those who they feel persecuted them. It would get us back to what makes the X-Men cool – people with ridiculous power fighting each other with it.

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.

Dr Doom - Control

1. We are looking down on a double bed in a bedroom.   The room is coloured in shades of greys as it is the middle of the night.   A man (on the left hand side of the bed) and a woman (on the right) are asleep.   A clock on the left hand wall tells us it is 11:30, and a glass of half finished water sits on the bed side table next to the woman’s side of the bed.   Close to the man’s side of the bed is a clearly visible door.   It is closed. A single text box simply says “Latveria”.

2.   The door has been kicked in and figures are rushing into the room. We can see that they are Dr Doom’s Servo-guards.   The man has sat upright in his bed, clearly shocked at the sound of the door being broken in.   His wife is still blissfully asleep.

3. Black panel.

4.   This panel is shown from behind the man.   We can see that he is sitting in a chair, hands tied behind his back and shirtless.   He is looking around at the room.   The room itself is white and completely blank, apart from a tv screen to the man’s right.   The screen is showing images of the man in what appears to be a small protest rally.   He is holding a sign that says “Down with Doom!”   To the left side of the panel are two Servo-Guard standing at attention.   A slight outline of a door can be seen between them.

5.   Same view as before, but the door is open and Dr Doom towers above the man who is still tied to his chair.   Doom all but fills out the panel, so all that we can see is a bit of white behind him, half of the monitor with the man protesting, and a small bit of the open door from which Dr Doom entered.   Doom is staring down at the man.

6.   A side shot of the panel we have just seen.   Doom is towering over the seated man, who has his eyes clenched shut, with his head pointed at the ground.   He is shaking, obviously terrified.

7. Black panel.

8.   We are back in the bedroom. It is daytime with a lot more colour than when we first saw the room. We are looking at the man’s wife waking up in bed, but this time viewed at bed level.   She is propping herself up on one arm as she rubs the sleep from an eye with her other hand.   Her half glass of water has not moved, and the broken door visible in the background.   Up on the wall behind her we can see the clock showing 2:30 in the afternoon.

9.   We are now seeing the opposite side of the bed.   The man is laying in his spot, with his wife leaning over him, presumably to tell him good morning.   The man’s eyes are wide open, and he is sweating.   He is clutching his bed sheets, holding near his clenched teeth. Fear is masking his face.

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

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

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

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

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

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

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

PEPPER : Nothing?

TONY : Nothing.

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

TONY : I was thinking about my father

Silence as both Tony and Pepper think about this statement.

PEPPER : Ew

TONY : Not like that.

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

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

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

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

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

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

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

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