This is the first 11 pages of a Superman OGN (in script form) that I had planned, but lost the motivation to continue. Not for lack of love of the character, just because scripting takes forever. If the response here asks for it however, I'm willing to continually update the story of Superman's Origin, according to me.

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Page 1:

Panel 1/

Standard shot of (by contrast) miniscule planet in front of a giant Red Sun.

CAP: Krypton. Population: 100 Billion.

Panel 2/

Zoom in to show a topographic view of the outer layers of Kryptonian civilisation.

CAP: Kryptonopolis. Capital City. Population: 30 Billion.

Panel / 3

Zoom in again to show a topographic shot of a magnificent building.

CAP: Home to the House of El. Population 2.

Panel/ 4

Same shot.

CAP: Home to the House of El. Population 3.

Page 2:

Panel 1/

Shot of a regally dressed Jor-El holding a crying baby in front of a tired Lara, who has clearly just given birth, assisted by a medical robot, that bears a familiar digital triangular shape across its interface.

JOR-EL: You did it, Lara.

LARA: We did it, love.

Panel 2/

Jor-El gives the baby over to Lara.

JOR-EL: What shall we call him?

Panel 3/

Close up shot of Lara cradling the baby.

LARA: Kal. Kal-El.

Panel 4/

The robot at Lara’s bedside begins flashing and making an alarming noise.

ROBOT: URGENT! TREMENDOUS INSTABILITY OF SUN-CORE!

Panel 5/

A startled Jor-El runs over to his command console in the background, we are viewing this from the robot’s POV, as we see Jor-El in the background, and Lara and a crying Kal in the foreground.

JOR-EL: NO! It’s too soon, please Rao, it’s too soon!

LARA: Jor-El, what is it? What’s going on?

JOR-EL: It’s the sun. It’s expanding.

Panel 6/

Back shot of Lara slowly getting up cradling Kal-El. Jor-El is still visible in the background.

LARA: Now!? I thought you said that was years away. You said we had more time.

JOR-EL: I thought we did.

Page 3 and 4:

Panel 1/ SPLASH.

A missile shaped object is leaving the atmosphere of Krypton. The Superman/House of El Symbol is engraved on the front. As the Red Sun engulfs Krypton in the background, causing half of the planet to burst out in an explosion; green rocks fly out in every direction, many alongside the missile.

CAP: Krypton. Population 0.

JOR-EL (CAP): There’s only room in the shuttle for one, Lara. I’m sorry.

LARA (CAP): But, he’ll be all alone.

JOR-EL (CAP): No, we’ll be with him. Always.

LARA (CAP): I just got my son, Jor-El. I can’t lose him now.

JOR-EL (CAP): I’m sorry, my love. I am so sorry. But we have no other choice.

LARA (CAP): At least... At least send him somewhere safe...

Page 5:

Panel 1/

A rusty old farmer’s Ute is driving along a dirt highway. There is a middle-aged (around 40 years old) couple in the front seats. The man is driving.

CAP: Smallville, Kansas. Earth. Four Years Later.

MAN: I’m sorry, Martha. I... I know how much you wanted kids. Look, maybe there’s still a chance. I’ll start wearing boxers... God, I’m so sorry.

Panel 2/

Close up on Martha’s gently smiling face.

MARTHA: Oh hush up, Jonathan. The good Lord will provide; He always has.

Panel 3/

Close up on Jonathan.

JONATHAN: Provide you with a new husband, maybe.

Panel 4/

Shot of Martha slapping the back of Jonathan’s head. They’re both smiling.The entire front of the Ute is visible, and in the background, so is a descending object flying toward them from the sky, covered in smoke and fire.

MARTHA: You keep talking like that and I just may find myself another.

JONATHAN: Heh, sorry.

Panel 5/ Angled topographic view of the descending object, the Kryptonian missile, crashing directly in front of Jonathan and Martha’s Ute.

Page 6:

Panel 1/

Show Jonathan and Martha through the Ute’s smashed windshield, both appearing very dishevelled and disoriented.

JONATHAN: What the Hell hit us..? Are you OK, Martha?

Panel 2/

Martha is staring at the audience, with a look of total shock on her face. Jonathan is looking at her.

JONATHAN: Martha?

Panel 3/

Both are staring forward now, looking at the audience; sharing the same dumbfounded expression.

JONATHAN: Oh my God.

Panel 4/

A four-year old boy, with black hair and bright blue eyes, is standing in a pit of fire and ash, smiling, while lifting the front end of the Ute.

JONATHAN: Martha... Did I hit my head..? Very, very hard. Because I see a kid that could play Defensive Tackle for the Metros.

MARTHA: If you did, so did I. Jonathan, I think the good Lord has provided.

Page 7:

Panel 1/

Side shot of a young Clark Kent, approximately 5 years old, standing in front of his kneeling mother. He has a despondent look on his face.

CAP: One Year Later.

CLARK: But m-mom, I want to go to school with the other kids.

Panel 2/

Close up of Martha’s face, she is smiling, but there is a tear in her left eye.

MARTHA: I know, sweetie. And I’m sorry, but you can’t. You just have to stay home for school, for just a few more years. It’s for your own good, Clark, I promise.

Panel 3/

Same angle shot as Panel 1, only Clark is now an adolescent of around 12 years, and is slightly taller than his mother.

CAP: Seven Years Later

CLARK: Say mom, Pete was telling me about this junior football thing, and it sounded really swell. Do you think I could play?

MARTHA: I don’t think that’s a good idea, Clark. You could wind up hurting the other children.

Panel 4/

Close up of Clark’s face. He is slightly annoyed, but more upset than anything.

CLARK: It’s not like I’d hurt them on purpose, mom. And I can control myself. I’d never hurt anyone. I...I’m not a monster, mom.

Panel 5/

Martha is now hugging Clark tightly. His arms hang limp beside him.

MARTHA: No, Clark, you’re not a monster. You could never be. You’re an angel.

Panel 6/

Clark turns away from Martha.

CLARK: Thanks, mom. I love you.

Page 8:

Panel 1/

Clark is sitting outside, on the porch-bench. He is just watching the horizon, with a complete lack of emotion. It’s night. Probably around 9pm.

CAP: Four Years Later

JONATHAN (OP): What’re you up to, Clark?

CLARK: Nothing. Just getting some air.

Panel 2/

Jonathan is leaning against the side of the house. Clark turns toward him.

CLARK: Today, I was cleaning up my room. I tried to blow some dust away. I’m still looking for my lamp.

Panel 3/

Front on shot of Clark looking forward, and Jonathan resting his hand on his son’s shoulder, comfortingly. He is running his free hand through his hair, he is clearly concerned for his child.

JONATHAN: Well, I suppose with your strength, it makes sense that you’d have big lungs. I think. Biology was never my strong point.

CLARK: It’s not just strength, dad.

Panel 4/

Close up shot of Jonathan’s confused face.

JONATHAN: Clark... What haven’t you told us?

Page 9:

Panel 1/ Splash.

Clark is hovering in mid-air in front of a completely dumbfounded Jonathan. Clark’s expression is one of total despondency.

CLARK: A single child born with extra dense muscular tissue and bone marrow is probably possible. I mean, highly unlikely, but possible. This isn’t. I’m not human, dad.

JONATHAN: Come with me, son.

Page 10:

Panel 1/

Shot, from inside of the storm-cellar, of Jonathan leading down the stairs.

JONATHAN: Before I show you this, I want you to know that everything we’ve done, we’ve done to keep you safe.

CLARK: Dad, you’re starting to freak me out.

Panel 2/

Jonathan lifts a concealed trap-door that reveals an additional set of stairs.

JONATHAN: When your mother and I found you, Clark. We didn’t just find you... We found something else too.

CLARK: Like what? A note from my birth-parents?

Panel 3/

Close up on Jonathan’s guilty face.

JONATHAN: Something like that.

Panel 4/

Jonathan flicks the light switch. Taken from the POV of the inside of the room. The reader can’t see what it is; the utterly devastated look on Clark’s face should be focus.

CLARK: What in the world is that?!

JONATHAN: That’s the thing, Clark... It’s not from our world.

Panel 5/

Clark super-speeds out of the cellar, and Jonathan is left looking shocked, yelling after his son.

JONATHAN: CLARK! Come back! Clark!

Panel 6/

Close up on Jonathan’s defeated face.

JONATHAN: Well, that’s new. My son can run.

Page 11:

Panel 1/

Clark is standing in a large field, looking up at the sky.

LEX (OP): You know this is Luthor property?

Panel 2/

An early 20s, bald youth is walking toward Clark. Clark’s over-the-shoulder perspective.

CLARK: Oh, I’m sorry. I’ll leave.

LEX: It’s alright. What’re you doing out here? If you’re burying a dead prostitute, I must warn you that my father has probably used all of the free earth.

Panel 3/

Clark is wearing a sad smile as he shakes Lex’s hand.

CLARK: No, nothing like that. Just found out my parents had been lying to me for a long time. I... just needed to get away. My name’s Clark.

LEX: Nice to meet you, Clark. Parents tend to do that, you know, lie to you. They’ll claim it’s for your protection, or because they didn’t want to hurt you, but really; it’s because they want to keep you down. Humans may have evolved well beyond the other creatures on the Earth, but that doesn’t mean we still don’t want to eat our young. So what lie did your parents tell you?

Panel 4/

Clark is standing next to Lex, both are staring at the sky.

CLARK: I’m...uh, I’m adopted. Only just found out a few hours ago.

LEX: That’s rough. My dad made me pay board at 14. Do you have any idea how much board is on a 70 acre mansion?

CLARK: I live on a farm.

LEX: So, no. Economy of words, Clark.

Panel 5/

Same shot only now Clark is looking at Lex.

CLARK: So you must be Lex, right? The prodigal son of the Luthor family?

LEX: The one and only... Well, at least until I perfect cloning. Maybe then I’ll have someone to play Chess with.

CLARK: I can play Chess.

Panel 6/

Close up on a smiling Lex.

Comic books are unlike any other medium. The characters involve have the same history (generally speaking) for decades and decades. They die and come back, they grow older and younger, they travel from dimension to dimension. With this in mind, retcons are inevitable, in fact, they can almost be a requirement. Sometimes they're necessary to undo a particularly poorly written story (AvX should be retconned in the near future, for example), or bring a character back from the dead or obscurity. Other times they're simply done in order to streamline continuity, whatever the reason, there are few ways to get them right, and a lot of ways to get them wrong.  
  
 
#1.  The less obtrusive and/or contrived, the better.
A retcon that slaps the reader in the face and says "YOU'RE WRONG" will often not be received especially well. A good example of this is the "Secondary Mutation". Sure, it came from left-field, but it directly violate any laws of mutants. It was just something that hadn't been named before. There were always different elements and subspecies to mutations (See Nightcrawler and Angel) so this, while not presented before and a pretty major change, was not directly jarring to continuity.   
First X-Men is an example of a retcon that is so fundamentally flawed and quite frankly offensive that it should not be discussed in polite company. It served little real purpose, other than to sell comics (thus bringing this series into #4 territory as well), and muddled up continuity so badly that it defies belief. 
 
#2. The simplest explanation is often the best.
A good example here is the Mockingbird and Clint reconciliation that was later revealed to be a Skrull. This meant that Clint had actually made up with a Skrull, regardless of how little sense that makes. In fact, the entirety of Secret Invasion occurred in a similar fashion, until Tom Brevoort (someone who openly admits he doesn't read much) was forced to fill in gaps with what amounted to little more than stubborn guesswork.  
The reason it was decided that Mockingbird was a Skrull at this point in time, rather than merely replaced, revived and resuscitated after her "death", was because the drama of a Clint/Bobbi reunion was desired. That's fine, but what Marvel should have done is simply said that she lost her memory of everything before "X instance". This meant that rather than her Skrull pursuing a relationship that didn't make a whole lot of sense, she would have just forgotten about the two making amends. That way, we know that Bobbi had forgiven Clint, and despite her forgetting, the last 20 years of her existence wouldn't have been spent with her being bitter inside of a Skrull ship.  
 
In short, things like "they forgot" or "it was all a trick by a telepath" may be cliched, but they are cliched because they work. If you spend too much time on an intricate retcon, people will begin to think about it more and more, and when they do, they will find the flaws. You're screwing with history, there will always be flaws.   
 
This isn't to say that a level of sophistication can't be applied to a retcon, but rather, unless it's a huge, multi-layered event-style change, it's best to just go with the easy option. 
 
#3. Change the cause, not the result. 
When Hal Jordan was revealed to have been manipulated by the Fear-Entity Parallax, a huge sigh of relief was heard amongst the GL community. Their hero was not someone who suffered horrifying trauma and caused a massacre and almost the dissolution of reality, instead he was victimised for feeling fear, and thus being human. This was a good idea. Hal was taken advantage of by a malevolent creature that took his feelings of fear, despair and distress to monstrous extremes. It preyed on him, but it preyed on feelings that were still there.  
 
The problem with this retcon was that Johns and company weren't willing to let it end there. Hal was immediately absolved of all guilt, and forgiven by virtually everyone who wasn't portrayed as a prick. After the Zero Hour/Parallax fiasco, Hal was humbled and then tried to atone for his actions. This added an additional layer to the somewhat cocky, cowboy-esque hero, and brought him into a new era. Sure, he'd keep those characters that made him a fan-favourite to begin with, but he would always carry that doubt, but also the wisdom that comes with it.  
Instead, he was absolved of all sins, told it would never happen again, and got a clean slate once more. Right.  
 
#4. Avoid unnecessary retcons.  
Sometimes, though this is most often the case with characters that a writer is desperately trying to make popular with fans, a retcon will be brought in quickly and quietly. It might make for a huge deal, generally it's only done to illicit a smile form the reader, but these are often the most jarring.
Jessica Jones being the biggest social outcast at Peter Parker's high school, and having a huge crush on him is an example of an unnecessary retcon. While it seems cute at first, the reader is then left wondering, why didn't she ask him out? And if she was in one of his classes, which she must have been, otherwise how would she know who she was, and Peter didn't notice her, what kind of a jerk is Peter Parker? So the reader is left with these kinds of questions. 
A classic unnecessary retcon is the Mighty Avengers - Wasp preserved in subspace through the Avengers Mansion. Originally set up so that Hank Pym could work on a way to revive her, this was later scrapped for no reason so that the character could be revived in another way, and actually made Hank look utterly incompetent. 
 
#5. Conclusion.  
A retcon is usually a bad thing. That's not because the concept is inherently bad, but because most of the time, writers hurry to explain things in ways that satisfy them, without taking into consideration which characters they're screwing over. 

------ 
 
After further review, I no longer really believe what I'm selling here. Too many terrible retcons to justify my saying they can be a force for good. In addition, most of the good retcons are really just a matter of "tidying up", than actively changing history. But this thing took me awhile to write, so I can't just delete it. 

Looking around Comicvine, it's becoming more and more frustrating to look at the most recent topics, as they're basically just the same thing over and over. Look at Off-Topic if you doubt that.  
Basically, I've taken it upon myself to write a list of guidelines for thread making, and if your thread doesn't fit this criteria, then maybe it needs some altering.   
 
Before you decide to make a thread, consider the following; 
  
Will your question be easily answerable on the CV wiki, or with a quick Google search? 
So you want to know what ethnicity Bane is? That's a more than fair enough question, but do you need a thread for it? The answer is no. Just a quick read of his CV bio will tell you where he was born, where he grew up, etc...  Google exists for a reason, so that people don't have to ask each other questions with easy to find answers. Use it. It's awesome. 

Has your thread already been made?  
Despite being the most frequently occurring type of pointless thread, this also happens to be the easiest to fix. Use the Search Function, it's as simple as that. If you're going to make a thread called "Offical Amazing Spider-Man film Discussion Thread", check if there is already one in existence. Otherwise, CV ends up with two "Official" threads, and you look like an idiot.  
 
Is your thread title specific enough that it will turn up in future Search Results, and that people will actually want to read it?  
 You could have the most legitimate of questions to ask in your thread, but if you title it; "Can someone answer this?" Then the usefulness of your thread just plummeted. It's no good having a great idea/topic if everyone skips over it because of the vagueness of the title. In addition if your question is "How much does the Iron Man armour cost to build?", but you title the thread "A question about Iron Man", then you've screwed up the search for anyone in the future who may have a similar question. 
 
Does your thread need to exist on its own, or can it be added to an already existing thread?  
This is very important. Just because you saw Avengers doesn't mean that you need to make a thread about your thoughts on the film. Chances are, they're similar to everyone else's and can easily fit inside one of the many other Avengers film threads. If you want to ask people who they'd prefer being, Thor or Hulk, then add it to a "Who would you rather be" thread, don't create another one. This can go past simple laziness and sometimes approach vanity. And speaking of vanity...

Does anyone other than you actually care?  
This may sound harsh, but let's be blunt, most of a person's thoughts are interesting to them alone. If you saw a duck cross the road only to start doing the MC Hammer dance, then that's terrific, but does it need a thread? (If you have video, then yes, it bloody does, because that would be awesome). But if it's just your word, then there's a great little thread called "What's going through your mind right now?" with only a few HUNDRED THOUSAND posts, so just put your random thoughts and observations there. This also goes for things like "Guess my height". Dude, no one cares. Seriously. 
 
Is your thread just really, really dumb? 
If you decide to make a thread like Kanye West vs Bruce Lee, you might get a laugh or two from casual visitors. Mostly you'll just get a bunch of irreverent memes and gifs. Then someone will say "x-character" sucks, or something about Euthanasia, everyone will fight, and the thread will get locked. Congratulations, that's your fault.  
Essentially, I'm just saying think before you post. If it's not that funny, it's gross or offensive, just don't make it. Go read a comic or something. Amuse yourself some other way, because frankly, you're just going to annoy people here.  
 
Happy Thread-Making.  

Part 1: 

Black Widow and Hawkeye: Budapest Part 2

Underneath Buda Castle, Budapest, Hungary. 23:00 hours, 16 June, 2005.

“Listen carefully. The Buda Palace is to sustain no damage, which means no big explosions, Clint. The Hungarian Government know nothing about Hydra’s activities, and we’d like them to know nothing about SHIELD’s as well. Gaining intel has become a secondary priority after destroying the WMDs. Do what you have to, but do it quietly. Fury out.”  

“OK, so destroy WMDs without causing any real structural damage to the compound, sounds easy” Hawkeye muttered as he turned off his long-range communicator. He and Black Widow were now swimming deep beneath the Széchenyi Chain Bridge in the River Danube. They were outfitted in the best scuba wear available, allowing them to speak coherently and breathe. Hawkeye was equipped with his standard arsenal; a single compound bow with a motorised arrow-dispensary unit to increase fire-rate and ease of reloading. Black Widow had two modified pistols with in-chamber silencers, additional ammo, and her customised Widow’s Bite bracelet.

“Well if you think it’s too hard, I can probably handle it on my own.” Natasha said teasingly. The two found the underwater sewage pipe they were searching for and made their way inside the less appealing entrance to the Hydra Compound. As they crawled through the disgusting tunnel system, they maintained radio silence, lest the AIM soldiers inside were using some manner of sound detection. Upon reaching the entryway, they dispatched their sullied swimsuits and activated the self-immolating device to destroy any trace of SHIELD tech. They were leaving through the front door, or it’s likely they weren’t leaving at all. They had entered through a trash deposit, rather than a sewage pipeline as originally thought, much to Hawkeye’s relief.

Guarding the deposit was a roaming sentry, as predicted. The Hydra sentry was carrying a 5.56mm M16 assault rifle, standard issue for the US military. Hydra had apparently intercepted a shipment and equipped their less-combat prone troops with them. It was a waste to use high end weaponry on soldiers who were probably never going to fire them. Fortunately for the SHIELD agents, this sentry wasn’t looking toward the trash deposit as the two entered the compound. This meant that rather than being shot in the head by Natasha, or through the eye by Clint, they would only take a single high-voltage sting from the Widow’s Bite. After leaving the waste disposal room, the agents moved through a series of relatively small hallways. The compound was clearly not built with comfort in mind. Eventually, after negotiating the halls, the agents came upon a large central laboratory, which was what the entire facility was built around. The lab had two levels; one was an observational deck that circumvented the entire room, while the second level hosted the scientific apparatus. There was around ten soldiers, and five scientists in the lab. Deciding that walking inside at the current time was a bad idea, the agents ascended into the roof air-ducts. They were peering through a grate that was supplying the room with fresh oxygen. The duct itself was approximately 10 feet above the observational level. The key feature of the lab was a large, approximately 9 feet tall throne-like creation. “Check it out” Hawkeye whispered as Black Widow took dozens of photographs with a device in her Widow’s Bite. “It’s like a chair, but the proportions are all weird, like it was made for a giant baby” he continued to commentate. “Or a man with a giant head” Natasha replied. The two agents continued to survey the room and saw a large ring with ramps leading to the centre adjacent to the throne; the other super-‘weapon’. Hawkeye noticed a single word on the side of the ring N-Zone.

“What the Hell is an N-Zone?” Black Widow asked, more rhetorically than actually wanting an answer.

“Not sure, it could have something to do with the atmosphere. I mean, it’s one before O-Zone, and it looks like a portal generator. Like in Stargate.” Hawkeye offered a possible explanation, however unlikely. Natasha looked at him incredulously.

“Mmm, maybe... Either way, let’s mess it up” Natasha responded decidedly. The Black Widow tossed a grenade into the centre of the laboratory which expelled thick black gas. She and Hawkeye then put on a pair of heat-sensitive goggles and, tearing open the grate of the air-duct in front of them, leapt down from their prone position.

As the gas filled the room, the AIM scientists began to run from the laboratory as the soldiers started firing at the epicentre of the gas. Black Widow elegantly descended from the deck and pursued the scientists, before being intercepted by two Hydra guards. The first guard threw a punch as Black Widow ducked, pulled his arm forward and delivered a shot of the Widow’s Bite to the back of his neck; 30000 volts to the brainstem. He collapsed in a dead heap. The second guard decided that hand-to-hand combat was not the best way to contend with this agent, and attempted to draw his weapon. He was met with a right hook followed by a pistol shot to the temple. Black Widow continued in pursuit of the scientists, ultimately cornering them before they were able to reach the compound’s exit. Before Widow could do anything however, the scientists each ingested a pill of cyanide and slumped down to the floor. Black Widow ran her right hand through her hair in frustration and ran back toward the laboratory.

Hawkeye fired two arrows simultaneously, dropping two guards as the arrows pierced their necks and heads respectively. He moved quickly around the observation deck, utilising numerous vantage points and discharging just as many arrows. His right hand became a blur as he continued to release arrow after arrow, some targeting guards while others target pieces of scientific equipment. Suddenly, he clicked a button on his wrist that caused a specialised arrowhead to appear and aimed at the throne. He fired the arrow; and as it soared through the air, a second arrowhead separated from it and flew directly into the N-Zone portal device. The two arrowheads suddenly began to create a miniature dimensional rift that consumed each of the targeted weapons. In an instance, the throne collapsed in on itself and disappeared in a brief flash of light, as did the portal. “Singularity arrows. I have no idea how they work either” Hawkeye quipped before descending to the lower level.

The Black Widow entered the lab and surveyed the carnage; guards dead with arrows protruding from their torsos and skull, gaping holes of space that the WMDs used to occupy.

“Wids, those arrows the ant-nerd made worked like a charm.” Natasha destroyed the remaining consoles after downloading the data of the portal to her Widow’s Bite. “That’s good” she replied distractedly, “they cost 33 million dollars to manufacture.” As she concluded her cleansing of the lab, Widow motioned to Hawkeye that it was time to go. As they attempted to leave, a large electrical current emanated from the floor and shocked the two. The SHIELD agents fell to the floor, unconscious.

-

Hawkeye looked around the room. He was in a barren, brick and concrete cell of some kind. He was tied down to a chair that was bolted to the ground. His wrists were tied behind the chair, and his waist tied to its back. A single guard was sitting in front of him. He was wearing a suit and dark sunglasses. A walking tribute to Agent Smith. He began to speak; “listen to me, spy. We have your girlfriend. She won’t escape. We have you both captured, tied down. You’re ours, and the only way you’ll get out of here alive is by telling me what I want to hear.” Hawkeye smiled at him.

“What would you like to hear?”

“I would like to hear who sent you. If you do not co-operate, we won’t torture you, we’ll torture her... Then we’ll torture you.” The man’s voice never wavered an octave, he was confident that he had the SHIELD agents caught, that they would not be leaving without his order.

“OK, OK” Hawkeye started, he leaned forward as he continued to speak; “You’ve got us tied up; captured. Well done you. But you see, that’s the thing. She’ll get out. That’s what she does. She learns everything she needs to, and then she gets out. And she’ll take all of you down. All of you. Do you think they call her the Black Widow because she needs looking after? If you’re smart; you’ll run, because if you don’t, she’ll come for you.” Hawkeye concluded his monologue and leaned back in the chair.

The agent moved closer to Barton and spat in his face. “So if that is what she does, then what do you do, Archer-Man? Wait to be rescued?”

Hawkeye moved his neck and wiped the saliva from his face onto his Kevlar. “Sometimes, but mostly, I just do magic tricks.”

Hawkeye then coughed violently and convulsed forward. The interrogator stood up and lifted his prisoner’s head to make sure he had not ingested cyanide, when unexpectedly he was caught staring at a smiling Hawkeye. Inside his grinning mouth was a smooth tube, with a needle-like object at the end.
“Ta-da” Hawkeye said through clenched teeth as he blew on the tube and fired the small projectile directly into the interrogator’s neck. Hawkeye, with his interrogator now dead at his feet, simply sat in the back of his wooden chair, and waited.

“B-Dubs, I’m ready to be rescued now” he said nonchalantly over the microphone. He paused for a moment. “Widow?” he asked sternly; genuine concern radiating in his voice. No answer. He asked again. No answer.  Without a sound, Hawkeye dropped his right shoulder slightly, and tucked it behind the back of the chair. Then came a small popping noise as the SHIELD agent dislocated his shoulder and used the unnatural freedom to manoeuvre his arms over the chair and rest them between it and his back. He then proceeded to use the small compartment that held his quiver to wear down the ropes. By repeatedly grinding the rope binding his hands against the metal contraption, Hawkeye finally freed himself. Well, his hands, but then it was just a matter of untying a few knots on his legs and waist and he was completely free. He stood erect, and charged into the wall, popping his right shoulder back into its socket. He winced only slightly, never uttering a sound.

-

The Black Widow awoke in a dark room; of course, all terrorists seemed to subscribe to the same clichés. This wasn’t the first dark room with a single flittering light she’d woken up in, and it likely wouldn’t be the last. It looked like some kind of prison cell. She was accustomed to those too. The first thing she noticed, other than the five guards standing between her and the door, was that she wasn’t bound to the gurney she was laying on. She was confused. She sat up and checked her bracelet; it was still attached, unsurprisingly. Most of her enemies took it to be an ammo reel, or just a piece of jewellery. Idiots.

“Hey, what’s the deal? Why am I not tied up?”

“One little girl against the five of us, we have no need to tie you up.”

“You did not just say that. Oh, you are all going to die screaming.”

In an instant, the Widow leapt from her dormant position and combat-rolled across the floor, sweeping the legs of two of her guards; completing the attack with a rising uppercut to a third. The standing guards attempted to pull their weapons, only to have Black Widow thrust her right knee into the side of the head of one, roll over their back, and kick-in the kneecaps of another, causing him to crumble to the ground. She then quickly put him in a front-face-lock and tugged back, snapping his neck. The guard she had kneed in the head was stumbling as the Widow continued her assault. He yelped as she broke his nose with a well-placed palm strike and followed with an elbow to the throat, crushing his larynx. The first two were now back on their feet and had their weapons drawn. Naturally, this just meant that Black Widow now had two guns to use. She reached out and wrenched a gunman toward her as his partner fired, hitting him in the chest. He screamed in pain as the Widow hyper-extended his elbow, collected his dropping gun, and then snapped his neck. She delivered a swift back-kick to the sternum of the remaining gunman, before cracking open his skull with the butt of the firearm. The final guard was slumped over in the corner. He had received the uppercut, and was effectively immobilised. The Black Widow pointed her gun at his head; aiming directly between the eyes.

“Where’s my partner?” she asked calmly. There was not a sliver of emotion in her voice. This was her domain, she had nothing to fear here.

“In the next room.” The guard answered, resigned to his fate.

“Thanks”. As Natasha was about to squeeze the trigger, the gunman interrupted, with one final statement of defiance.

“Hey bitch, I didn’t scream.” The Black Widow nodded in agreement, and then suddenyl fired a single round into his ankle. The man cried out in pain, as Natasha then let loose a merciful kill-shot straight into his skull.

“I’m a woman of my word” she said coldly, exiting the room.

She was greeted with a large concrete hallway, strengthening her suspicion that this was a prison. She opened the door to the next room to see Barton leaning against the wall and a guard dead beside his feet. He looked at her with total relief.

“Widow? Why didn’t you answer?!” he asked, still more relieved than annoyed.  

“I was busy” she replied coolly.

“So was I!”

“With your one guard? I had five. Come on.” She led the way as they walked toward the entrance to the building.“Yeah, but I bet you didn’t have to take out your damn shoulder.” Hawkeye mumbled to himself as he massaged his arm.

“What’s that?”

“Nothing, nothing. Let’s go.”

They opened the door of the building to find themselves in an open countryside. Natasha was right; they were in an old asylum or prison, because there was nothing but trees and hills in sight. And throughout those trees and hills, lay dozens of Hydra soldiers. 

Black Widow and Hawkeye: Budapest Part 1

SHIELD Helicarrier, location unknown. 22:00 hours, 15 June, 2005.

--- Original Dossier given to agents inside Helicarrier:

The following information and accompanying directives are for the eyes of the Black Widow and Hawkeye only. A Hydra splinter cell calling itself AIM has begun development on two weapons of mass destruction. The precise power-source and function of these weapons is unknown. The existence of AIM was revealed to SHIELD by a single double-agent, codenamed the Weasel, who was discovered and forced to flee the Hydra Base in the Himalayas, where he was positioned for some time. The Weasel has informed us that a significant Hydra benefactor by the name of Anton Misurovic has access to the compound. As Hydra is a stateless entity, and occupying ground beneath Hungary, SHIELD is unable to initiate a direct attack. As such, all knowledge of your existence will be disavowed, and should you require assistance, none will be given. You are to enter the compound, obtain intelligence regarding the weapons, and terminate any threat inside. Lethal force has been authorised and is encouraged.

SHIELD Helicarrier, location unknown. 23:45 hours, 15 June, 2005.

--- Dossier as given to agents after departure from Helicarrier:

The following information and accompanying directives are for the eyes of the REDACTED and REDACTED only. A REDACTED splinter cell calling itself REDACTED has begun development on two weapons of mass destruction. The precise power-source and function of these weapons is unknown. The existence of REDACTED was revealed to REDACTED by a single double-agent, codenamed the REDACTED, who was discovered and forced to flee the REDACTED base in the REDACTED, where he was positioned for some time. The REDACTED has informed us that a significant REDACTED benefactor by the name of REDACTED has access to the compound. As REDACTED is a stateless entity, and occupying ground beneath REDACTED, REDACTED is unable to initiate a direct attack. As such, all knowledge of your existence will be disavowed, and should you require assistance, none will be given. You are to enter the compound, obtain intelligence regarding the weapons, and terminate any threat inside. Lethal force has been authorised and is encouraged.

Buda Castle, Budapest, Hungary. 21:00 hours, 16 June, 2005.

The yellow Lamborghini Gallardo LP 570-4 Spyder Perfomante steadily approached Buda Castle, Royal Palace of Budapest. The spectacular architectural marvel was host to a gala for the UNICEF organisation, a typical meeting of the beautiful and the rich, something the average citizen of Hungary, or any country represented by the UN would probably not even know about. Tonight however, this gathering would be visited by not just the world’s deep pockets, but by its invisible protectors.

Clint Barton, sitting in the passenger’s seat of the exquisite automobile had just stowed away a folder inside the glove compartment as a slight cracking nosie was heard. The glove compartment, which could only be opened with a unique clearance card, held a specialised incinerator inside that had just been utilised to destroy the aforementioned folder. Clint scratched his chin, and checked his dark purple bowtie in the front mirror before looking over at his partner and driver. While the car itself was a wonder of human engineering, the woman’s beauty put it to shame; her name was Natasha Romanova.

“So what do you think?” she asked, never taking her eyes from the hectic road. Barton chuckled to himself before answering.

“I think that this Redacted guy is a real son of a bitch. He appears like 15 times.”

The car pulled up to the magnificent palace, and Natasha wearing her elegant ___dress not waiting for the valet to open her door, stepped out of the car and tossed the keys toward the approaching valet.

“Not a scratch” she said firmly in Hungarian. Clint flashed up a peace symbol toward the young man, his skill with languages not quite on par with that of his partner, and took Natasha’s arm. They climbed the steps and entered the palace, Clint in his tuxedo and Natasha easily filling out a sleek, black, haltered dress with a single slit down the right side. Of course it looked good, but it was also a gown specifically chosen to allow for Natasha to kick someone’s head, if the need arose. And the need usually arose; but for now it was the attention of one man that was required; Anton Misurovic. The two scanned the crowd, searching for the St Petersburg-born millionaire.

“Come on, Tasha, use your Russian Sense to find him.” Clint quipped as he guided his partner through the halls of the Buda Castle. Natasha turned and smiled through gritted teeth. “One day, Barton, I am going to hit you very, very hard.” As Clint attempted to retort, he spotted the target talking with an older gentlemen that Barton recognised as an economist working for the UN.

“Target sighted” he whispered, “do your thing, Tasha.

“God, this is so degrading.”

“Hey, it’s the job. I had to do it last time, and that Columbian guy was very handsy.”

Natasha pinched Clint in the arm and made her way toward the bar, her hips drawing the attention of virtually every man (and some women) in the vicinity. She retrieved two glasses of Dom Perignon, and upon her return voyage to Clint, who had now positioned himself a reasonable distance behind Misurovic, allowing the Widow to intersect with him on her trajectory. As planned, the “bumbling” Natasha gently so as to not spill the win, but forcefully enough to warrant attention, bumped into the mark. An angry Anton turned to admonish the fool who had crossed him when he noticed the gorgeous red head and other assets of his intended target. Naturally, both could hear what the other said, with state-of-the art microphones placed in their back molars, and almost-invisible receivers located in their ears. Nothing but the best for SHIELD personnel.

“My, are you all right, Miss..?” Anton asked, no longer thinking with his upstairs brain. “Belova. Yelena Belova. And, yes, I am perfectly fine, I’m so sorry about that.” Natasha answered, with a thick Russian accent, her natural accent. “It’s these damned heels.”

“Nonsense, I am sure your heels are as beautiful as the rest of you” he responded. Anton convinced he had been charming, led Natasha away from the group he was previously conversing with. Natasha giggled and smiled, as she would have done no matter what line Misurovic had used. But this time it was a sincere smile, however it was not directed at Anton. As he finished speaking, her partner’s voice had echoed in her ear via the receiver. “Oh my God. Can I shoot him now? I want to shoot him now.” Anton spoke again. “Two glasses, but I see only one woman. Did you not come alone?” Natasha nodded and gestured toward Clint. “There is my escort, but he’s terribly boring tonight. Would you care to dance?” Natasha asked seductively, biting her lip as she ended her request.

“Are you sure your boyfriend does not mind?” Anton looked toward Barton. Hawkeye stared at the two of them with an eerie gaze that seemed to peer directly into one’s soul and pry out all secrets. “No, he’s fine. He’s a gay friend, just overprotective.” Natasha leaned in close, tapped her collarbone and raised her right eyebrow. “Purple tie.” Anton nodded smugly in understanding. The two drank from the wine Natasha had collected previously, Misurovic’s glass being doused with sodium-pentothal, and moved into the waltz position and proceeded to dance. As they waltzed, Misurovic slipped his left hand down Natasha’s waist and rested it just above her posterior. Barton, who had now relocated to the buffet, offered further commentary.

“Oh, that’s good of him. He’s telling us which fingers he wants broken during the interrogation. Natasha, opting to not have her task interrupted further, decided to switch to speaking Russian. After approximately a half hour of dancing and seductive conversation, Natasha led Anton away from the party and into a previously selected private room. She pushed Misurovic up against the wall and kissed his neck.

“So tell me, Anton, where is the AIM base located?” Misurovic attempted to step back, except he was stuck against the wall, caught between his hard place and the Black Widow. Involuntarily, he replied “It’s here.” Natasha continued to kiss his neck, while asking again. “No, this is the Royal Palace, where is the underground AIM base?” Anton looked at her again, once more with disbelief, unable to move as the stronger Widow pinned him to the wall. “It is here, underneath the palace.”

“Are you kidding me? You mean I drove a luxury car around Budapest with a beautiful woman on my arm for no reason? Damn this job. Anyway, that’s my cue.” Suddenly the door flew open and Clint entered glaring at Natasha and Anton. He moved Natasha out of the way and tackled Misurovic to the ground. “That’s my wife, you REDACTED!” Anton looked up at Natasha, confused; “Wife? I thought you said he was gay!”

“Nope, straight as an arr- well you know.” Barton interjected, and with one well placed right hook, Misurovic was unconscious.

“OK, hit him with some MAD-74, then back to the car and we head down. Got it?” Natasha said sternly. “Sounds good to me.” Barton removed a syringe from his breast pocket and injected it into Misurovic’s neck. This was MAD-74, or Memory-Altering Drug-74. The MAD-74 was unlike other drugs, as it did not simply erase the memory, rather it removed the brain’s ability to understand language for the hour prior to injection. The MAD-74 was developed after numerous incidents involving high-profile targets of great means attempting to investigate their “lost” memories, leading to many problems for SHIELD. Instead, a standard practice was developed. One agent would seduce the target, take them to a private room, obtain the required intelligence through the use of enhanced sodium-pentothal, continuing to physically act as though seducing the target, and then have the agent’s “spouse” interrupt the process and render the target unconscious. Upon regaining consciousness, the target would then only remember meeting a man or woman, becoming enamoured, being led to a private room and then being assaulted by the person they saw them with earlier in the night. The inevitable deduction was that they had been attacked for attempting to commit adultery, and the issue was never brought up again.

The valet brought the Gallardo back to Natasha and Clint and she parked it several blocks away, where it would later be collected by SHIELD personnel. Equipped with cutting-edge security, it was not going to be stolen. Hawkeye had opened the trunk of the car and removed two satchels. He threw one to Natasha before they ditched the car, and both entered a nearby alleyway. Inside the satchels were their uniforms and weapons; for Natasha two standard issue Beretta pistols, and for Hawkeye, one bow and quiver. Under cover of darkness, the two headed back toward Buda Castle and the Hydra base. 

Part 2

CV has the option to follow people, and see when they post on an activity feed, but what if there's someone who just posts crap? Or maybe it's not that, maybe they just rub you the wrong way (I imagine I rub many the wrong way), we shouldn't be forced to read the responses of people who either antagonise us or are, for lack of a better term, just morons.   
 
Basically, I feel we, as users, deserve the right to filter whose comments we read. If you like Bendis' Siege, there's a good chance I never want to hear what you have to say, there's a good chance, I may in fact berate you for having terrible taste, and you don't deserve that. That's not fair on you. See? I just said you had terrible taste, as far as I'm concerned, that's not even an opinion, it's like saying the sky is blue. It's a fact. But it might not be to you, and as such, why should you have to read my arrogant jerk-a** comments?   
 
Answer; you shouldn't.   
 
Block me. Let me block you.    
 

BRING ON A MORON FILTER. 

Marvel Genesis Fantastic Four #2 RATED T FOR VIOLENCE AND THEMES 

Page 1:

Panel 1/

A blonde female news reporter is standing in front of the wreckage that was Cosmic Industries.   We are watching her on a television screen.

REPORTER: It was three weeks ago that the world suffered a great tragedy, the death of Reed Richards, and Victor Von Doom; two of the greatest minds to have ever lived. At the current time, authorities have found no traces of either scientist, and they are presumed dead.

Panel 2/

Show the television (same shot of the reporter), is in a cramped dorm room. In front of the television is a hunched, bespectacled student with dishevelled hair. He is holding a screw driver over a smart-phone and appears to be modifying it.

STUDENT: Idiots. They were working on Portal Tech, you find no bodies, and yet you still assume they’re dead? How were you the sperm that got through?

Panel 3/

The Student is standing up, he is clearly very agitated and is swinging his arms around wildly.

STUDENT: I mean, these are the two greatest minds on the planet. On any planet. And you think they’d just blow themselves up? Death cannot comprehend the minds of Richards and Doom. They are beyond death.

Panel 4/

Close up on the student’s face, there is a shadow covering most of it, save for his eyes and glasses. His eyes should reflect the madness that only comes from supreme intelligence.

STUDENT: They’re not like you worthless creatures. They’re Thinkers. Like me.

Page 2:

Panel 1/

Angled topographic view of a small house in a suburban street. Think Brooklyn more so than Manhattan.   A man in a black trenchcoat with a wide-brimmed hat is knocking on the door. He is carrying several folders.

REED (OP): Hello honey, I’m home!

Panel 2/

Bender, Su-Xan and the youth from last issue are standing at the doorway. We see a back-shot of them as Reed is entering the house.

SU: Who is honey? And is she a threat?

REED: What? No. It’s just an expression.

Panel 3/

Back shot as Reed is fumbling around with the folders in his hands, having placed the bag on the ground. Su has an agitated look on her face, while Bender just appears bored and the youth quizzical. The youth is around 12 years old.

SU: Well how about you express us back home?

YOUTH: What’s in the folders?

BENDER: Did you get any food?

Panel 4/

Reed drops all the folders and looks up at Su-Xan, exhausted.

REED: Su, I can’t get you back home yet, you know that, I’m sorry, I’m doing everything I can.

Panel 5/

Reed rummages through the folders and removes a clipboard with attached papers; giving it to the youth.

REED: Here, this is what I was doing, and what’s in the folders.

Panel 6/

Reed looks toward Bender.

REED: Bender, in the bag, food for you.

BENDER: Thank you, my friend.

REED: Any time, Bender.

Page 3:

Panel 1/ Splash.

A confused look on the face of the youth.

YOUTH: Who is Jonathan Storm, and why does he have my face?

Page 4:

Panel 1/

Reed is stretching his arms, giving both Su and Bender a clipboard as well.

REED: These are your new identities. I made them, so that you’ll be able to, you know, go outside. I had to make your names more...human, though.

SU-XAN: Susan? What a ridiculous name.

JONATHAN: Thanks, Mister Richards. I really like the name. Jonathan Storm. It sounds like the name of a warrior.

Panel 2/

Shot of Jonathan, standing in front of Reed.

REED: Yeah, Jonathan is kind of the most common name around here. I’m not all that imaginative in areas that don’t involve physics.   I thought that you could go by Johnny though, you are a kid, after all. And call me Reed.

JOHNNY: Sure, that sounds great... Reed.

Panel 3/

Close up on Bender and Su-Xan’s annoyed face.

BENDER: Ben Grim? Why grim? Are you saying I’m unpleasant?

SU-XAN: And why is my secondary moniker the same as the child’s.

Panel 4/

Reed, flustered is standing in the doorway.

REED: OK, Ben, you’re the only one of your species on this Earth, your situation is grim. Su, your last name is the same as Johnny’s because you both have blonde hair and I thought it would make sense to have the two of you be siblings. I mean, why else would a twelve year old be living with us?

Panel 5/

Su leans in close to Reed, glaring.

SU: That makes sense.

REED: It does? Oh thank God.

Panel 6/

Ben is smiling.

BEN: Heh, my situation is grim, heh, that’s clever you thinly specaldom friend.

REED: Thanks. Specaldom..?

BEN: It is from my world’s tongue. It means small and weak, and not of warrior form.

Panel 7/

Side on shot of Reed and Ben shaking hands.

REED: Well, thanks for the friend part. Ow, my hand.

Page 5:

Panel 1/

A large University room, a lecturer is standing in front of a full room.

LECTURER: OK, students, who amongst you can tell me what it is that the late Doctors Victor Von Doom and Reed Richards were working on?

STUDENT (OP): They’re not dead!

Panel 2/ Same shot.

LECTURER: Regardless, it is their work which we are here to discuss.

ANOTHER STUDENT: Excuse me, who were Victor Doom and Red Richards?

Panel 3/

 Close up on the student from earlier, he is glaring at the young woman who was just speaking.

STUDENT: Are you serious?   You’re taking Theoretical Physics, and you don’t even know the names of the greatest minds of our time?! You stupid @#$&^!

LECTURER: EXCUSE ME! How dare you use that kind of language in my classroom.

Panel 4/

The Student is now standing vertically, he is clearly psychologically unhinged.

STUDENT: How dare I? This moron doesn’t know who Reed Richards is? And you’re telling me off? Are you out of your miniscule mind?

Panel 5/

Close up on the lecturer, he is visibly angry, saliva flying from his mouth as he yells.

LECTURER: GET OUT! GET OUT, NOW!

Panel 6/

The student is leaving the room, enraged.

LECTURER: Now, as you know, Richards and Von Doom started Cosmos Industries.

Panel 7/ The Student stops dead.

STUDENT: Cosmic Industries

Page 6:

Panel 1/

The Student is holding a pistol in his hand.

STUDENT: It was Cosmic Industries. Not Cosmos, you damn Philistine. They died for Science, and you didn’t even know the name of their company.

Panel 2/

The Student shoots the lecturer in the head, pulls out another gun, and begins firing randomly into the crowd.

STUDENT: I’m sick of it. I’m sick of all of you. You’re all so stupid. You don’t understand. You never did. And I’m done with you.

Panel 3/

Close up on a guy who’s lying on the ground.

 GUY: What the Hell, man? Why?

Panel 4/

Close up on the Student’s face.

STUDENT: I'm not like any of you. I'm not some quasi-intellectual sack of blood and organs who derives purpose from reality television and the next person you screw. But more than that, I'm not about to be tortured mercilessly by a higher being. I'm a Thinker, and you've made me Mad. Let the cleansing begin.

Page 7:

Panel 1/

Exterior shot of the Richards’ home.

Panel 2/

Ben is playing catch with Johnny in the background. Ben is throwing underarm for obvious reasons. Reed and Sue are talking sombrely in the foreground.

SU: Reed, tell me, honestly; do you think you can get us home?

REED: Honestly... No. Not at the moment. But you have to believe me, Su, I will do everything I can to get you back to your Earth.

Panel 3/

Same shot, only now Su is standing with her back to Reed.

SU: I believe you Reed Richards, I just don’t know if I can trust you yet. Your partner was insane, and you couldn’t see it. I don’t know how I can place my faith in a man who could be so blind.

REED: They do call it blind faith for a reason.

Panel 4/

Same shot. Only Su is off-panel.

SU (OP): Another expression exclusive to your world, I’m afraid.

Panel 5/

Ben is facing Reed.

BEN: She’ll come around, specaldom, don’t worry.

REED: Worrying is what I do, Uluru.

BEN: Uluru?

Panel 6/

REED is winking.

REED: Just a word from my planet.

Page 8:

Panel 1/

Reed wanders over to the couch and turns on the television.

REED: Just check if there’s any word on Victor.

Panel 2/

Close up on TV. The same reporter from earlier is out the front of a University.

REPORTER: ...University where tragedy has struck.

Panel 3/

Ben walks over behind the couch.

BEN: What’s a University, Reed?

REED: It’s a school.

BEN: Like where children go.

REED: Young adults, but yeah.

Panel 4/

Close up on the television reporter again.

REPORTER: And as this tragedy continues to unfold, we’ll have further details. All we know is that this terrorist, calling himself “the Mad Thinker” has no plans to release the 75 hostages he has within the Niels Bohr Building.

Panel 5/

Reed’s head has rotated 180 degrees to see Ben standing behind him.

Panel 6/

Close up on Ben’s face. He has a terrifying look on his face, one of pure determination.

BEN: Where is that?

Page 9:

Panel 1/ Splash.

Reed, Ben and Su are clothed in black trench coats. Johnny is just wearing a regular T-Shirt and shorts. Reed is looking at Ben.

REED: Thank God for “Men’s Big and Tall”.

BEN: You sure about this, Suzy?

SU: It’s Su-Xan, and yes. You’ll need my help. Reed’s got no combat experience, and you’re a giant, both totally ineffective in a stealth situation.

JOHNNY: Let’s go save people!

BEN: You’re not coming.

JOHNNY: I can fly and make fire. You are a big rock. I’m more useful than you.

REED: Guys, calm down. It’s time I show you something.

Page 10:

Panel 1/

The foursome go outside and face the front of the house.

REED: Before Victor and I...parted ways, we built something for transportation. It’s still relatively untested, but we know that the basic transport systems work fine. You

Panel 2/

Topographic view of the roof sliding open. A pill-shaped shuttle, with two rows of bucket seats. There are two huge vents underneath, and a windshield in the front and Two large booster rockets appearing at the end begins rising out of the house.

REED: Vic and I, we were good at space conservation.

Panel 3/

The vehicle is appearing behind an elated Reed.

REED: Say hello to the Fantasticar.

SU: That’s the worst name I’ve ever heard. For anything.

Page 11:

Panel 1/

The Mad Thinker is kneeling in front of a crying girl. He is holding the smart-phone from earlier in front of him.

THINKER: See this, Daisy? Your name is Daisy, right? You know what? It doesn’t matter. See this? This is my Magnum Opus. This is my Android. Isn’t it Awesome?

Panel 2/

The Mad Thinker is now standing upright. He’s staring at the phone in his hand.

THINKER: I modified it. Once I realised that I’m smarter than anyone else in this school, and I mean, A LOT smarter, I was scared at first. I mean, if you realised you could solve any Physics problem, relating to force and movement, simply by looking at it, you’d be scared too.

Panel 3/

He’s waving his hands around.

THINKER: I mean, it’s amazing how different my life became when I discovered that I was just better than all of you. I had to act dumb; of course, look at this place, a single intelligent person here is likely to be lynched.

Panel 5/

Side on shot of the Thinker pushing his face up against Daisy.

THINKER: I knew that people would come after me, and so I modified my Android, into an Awesome weapon. Like right now, I could literally hit you with 500000 volts of electricity.   I bet you’re thinking that the size of the phone makes that impossible, but that’s because YOU’RE STUPID!

Panel 6/

Close up on the Thinker, who’s now crying.

THINKER: I see things differently to you, and I’m sick of seeing things differently. I’m sick of seeing...you. Goodbye, Daisy.

Page 12: Splash.

Panel 1/

Side on shot of Su flying through the window in a cone-like force-field, the Fantasticar, carrying Reed and Ben is visible in the background. Johnny is flying beside them.

SU: LEAVE HER ALONE.

Page 13:

Panel 1/

Shot of Reed and Ben in the Fantasticar.

REED: It’s lucky we went with the Stealth option, ey?

Panel 2/

Su lands, rolling, in front of the Thinker.

Panel 3/

Su punches him in the throat, then backlip-kicks him in the jaw, landing in a crouched position. The Thinker falls backwards.

Panel 4/

The Thinker, vomiting blood, points his Android at Su.

THINKER: You #$%@^!

Panel 5/

A stream of electricity jets out from the end of the Android toward Su, who rolls out of the way.

Page 14:

Panel 1/

Su stands vertical, and turns herself invisible. In the back ground, we see that Reed is still piloting the Fantasticar, as Ben and Johnny help students evacuate.

REED: Keep it up, Su!

SU: Try that now.

Panel 2/

The Mad Thinker connects an earphone to his Android and then puts it in his ear.

THINKER: That’s amazing. You can turn your entire body invisible. I’d love to cut you open and have a look around.

Panel 3/

Su uppercuts the Thinker in the jaw (the outline of her form is visible to the reader, but not the Thinker).

SU: I’ve been an experiment before. And I promise you; it will never happen again.

Panel 4/

The Thinker blasts Su back with an electrical shockwave emitted from his phone.

THINKER: See that’s the thing about being invisible, you still make noise, and I can hear where you are, with the help of my Awesome Android, of course.

SU: Nnngh!

Panel 5/

Over the shoulder shot of the Thinker staring down at Su, who is laying on the floor. A blade springs from his phone.

THINKER: So, what else you got, beautiful?

BEN (OP): SHE’S GOT ME!

Page 15:

Panel 1/

The Thinker stands in front of an enraged Ben.

BEN: Give up. Now.

THINKER: What the Hell is this thing?

Panel 2/

The Thing punches throws a punch at the Thinker.

BEN: THIS IS THE THING THAT’S GOING TO CLOBBER YOU.

Panel 3/

Show The Thinker analysing the Thing’s punch in mid-air, gauging the speed and force, then ducking it.

THINKER: She surprised me, you didn’t. You’ll never lay a hand on me.

Panel 4/

A ball of fire hits Ben in the back of the head.

JOHNNY (OP): I missed! Sorry!

BEN: Stay back, little one, I don’t want you getting hurt too.

Panel 5/

Close up on the Thinker’s Android as a series of small robotic spiders begin crawling out.

THINKER: In a few minutes, anything organic inside your thick skull will be chewed up and spit out by my Awesome Ants. Unless I call them off that is.

REED (OP): My word, you’re worse at naming things than I am.

Panel 6/

Close up on the Thinker’s face. He looks surprised.

THINKER: I know that voice...

Page 16:

Panel 1/

The Thinker runs up and hugs Reed. It is evident that all of the students have now been evacuated.

THINKER: Did you see what I did, Reed? I did it to honour you and Victor! I was so sick of stupid people, I wanted a world free of them, then maybe you two would come back!

Panel 2/

Close up on a crying Thinker. He’s sunk to his knees.

REED: Whatever your reasons, you’re sick. And you need to turn yourself in.

Panel 3/

The Thinker’s eyes are opened.

THINKER: What? I thought you’d understand. We’re better than them...

Panel 4/

Close up of Reed, who’s looking down at the Thinker.

REED: No, we’re not. We’re different. And we have a lot more potential than the average person, but we’re no better.

Panel 5/

Several spiders have gathered over Reed’s head. He is unaware. The Thinker is looking up at him smiling.

THINKER: I so wish you hadn’t said that. I moved my spiders from the thing, to you. Goodbye, Dr Richards.

Page 17:

 Panel 1/

Reed punches the Thinker in the face, his fist enlarged to three times the size of the Thinker’s head.

REED: Yes, I’d hope you would. I’m not like you anymore. I’m not human...

Panel 2/

Reed crushes the phone with his foot.

REED: And I’m a lot smarter.

Panel 3/

Ben is helping Su to her feet.

SU: So, we saved everyone?

BEN: Yep, you did good, lady.

SU: Thanks, Thing.

Panel 4/

Su, leans off Ben, wanders over and kicks the unconscious Thinker.

Panel 5/

Reed looks at her disapprovingly.

SU: What? He was, as your Television says, a “@#^%*$”.

Page 18:

Panel 1/

A huge gathering of news crews and voyeurs have gathered around, as the foursome exit the building, with Ben dragging the unconscious body of the Thinker.

Panel 2/

Close up of a reporter at the scene, with the foursome in the background, as groups of people clamour around them.

REPORTER: It’s been a tragic day here, but amazingly, it would appear that something good has come out of it, aside from proving that Dr Reed Richards is alive, it seems that New York has gained a few superheroes.

Panel 3/ Same shot.

REPORTER: Yep, this Fantastic Foursome. Fantastic Foursome? Stewart, seriously? That sounds like a porn film. We’re still live? Damnit. This Fantastic Four have brought the insane terrorist to justice.

Page 19:

Exterior view of San Quentin.

CAP: 3 Weeks Later. San Quentin State Prison

Panel 1/

Back shot of a man in a green cloak entering the prison. A guard is visibly startled.

GUARD: Woah, man, what’s wrong with your face?

Panel 2/

Explosion. With the man in the green cloak walking from it, unscathed. The guard’s head dangling by the spine in his left hand.

Panel 3/

The man in the green cloaks’ shadow is visible over the Thinker, who is crouching in his cell, reading a book.

Panel 4/

Same shot, only the Thinker looks up in shock and awe.

THINKER: OhmyGod... You’re...

Page 20:

Panel 1/ Splash.

Full body shot of Victor Von Doom, whose body and face are completely covered in the Doombot armour as seen last issue. He is wearing a green tunic over chest armour and hip-area.

DOOM: So boy, I hear you’re a fan.  

END.

Avenging X-Bolt and FadeToBlackBolt Present:

Marvel Genesis X-Men #1 RATED T+

Page 1/

Panel 1/ Angled topographic view of a woman giving birth. She is surrounded by Mesopotamian Witch Doctors.

CAP: Approximately 5000 Years Ago. 3000. Sumer.

DOCTOR #1: <Please Anu, let this woman and her child live>

Panel 2/ Close up on the Doctor’s horrified face.

DOCTOR #1: <She is dead. But the child lives.>

DOCTOR #3: <That is no child.>

Panel 3/ Show the baby, laying on the ground, on a stack of leaves, in front of its dead mother. The baby has grey skin, and blue lips with several protruding blue veins. Its face is completely emotionless.

DOCTOR #1: <Kill it. Send this abomination to the Great Below. It does not belong in our world.>

DOCTOR #2: <Foul creature.>

Panel 4/ Baby’s perspective. The third Doctor raises a knife about to strike.

DOCTOR #3: <Die, Nameless One.>

Page 2/

Panel 1/ Elevated side on view of the knife smashing over the baby’s face, as its skin is apparently impenetrable.

DOCTOR #3: ARGH!

Panel 2/ The baby looks at the Doctor.  

Panel 3/ The Doctor grabs the baby by the head and lifts it into the air.

DOCTOR #2: What manner of creature is this?

Page 3/

Panel  1/ The baby’s form has altered to imitate the size and shape of the Doctor. It does not have any clothes or any distinguishing features. Essentially, it’s a blank slate of a human form.

 DOCTOR #3: <By Anu...>

Panel 2/ The Nameless One looks at the shattered knife on the ground. His hand begins to transform into the shape of the knife.

Panel 3/ The Nameless One stabs the Doctor in the face, killing him.

Page 4/

Panel 1/ Large shot of the Nameless One, whose form has taken on an armoured appearance. He is still only grey, with bulbous blue veins around his body. He is sitting on a throne with hundreds of slaves bowing before him.

CAP: Approximately 2000 Years Later. Egypt.

NARRATIVE CAP: After it had destroyed its people, who had shunned and cursed it, the Nameless One gave itself a name; En Sabah Nur. It has since become an engine of destruction.

Panel 2/ Show various scenes in a montage of Nur destroying dozens of people with his shape-altering abilities. He has grown hammers for hands, gigantically tall, etc...

NARRATIVE CAP: En Sabah Nur destroyed and conquered. It believed only the strong deserved life, and there were none stronger than Nur and his kin. They came to be known as Mutants.

Panel 3/ Montage of various mutants being born, their mutations being physically obvious.

NARRATIVE CAP: It was unknown what birthed the Mutants, only that they began with Nur. It was not the Progenitor, but it was the first. It was the beginning.

Panel 4/ Montage of Mutants helping to build the Pyramids.

NARRATIVE CAP: Mutants were the future, but they were still only few.

Page 5/

Panel 1/ Show a small cabal of white-cloaked beings sitting in a circle inside of a cave.

NARRATIVE CAP: And soon these few realised their limitations. Mutants were the future, they were not for the present. Nur would bring about their downfall with his hubris.

Panel 2/ The white cloaked beings, known as Exemplars, battle Nur. They attack with elemental and energy strikes.

NARRATIVE CAP: These rebels, these Exemplars, knew that if they did not remove Nur from power, humans would find a way to defeat it and all Mutantkind. If Nur was not stopped, he would be the Mutant Apocalypse.

Panel 3/ Nur is being sucked through a portal.

NARRATIVE CAP: The Exemplars defeated Nur, but not even they could truly destroy it. They used their combine might to seal Nur in another dimension, a plane of existence called the Negative Zone.

Panel 4/ Topographic view of the Exemplars walking away in different directions.

NARRATIVE CAP: And so the Exemplars, and the Mutants, wandered the Earth separately, waiting for their species’ time to prosper. Waiting for the future.

Page 6/

Panel 1/ A bald man in a wheelchair is sipping a cup of coffee in a small cafe. He is approximately 30-40 years old.

CAP: 5 Years Ago. Westchester, New York.

Panel 2/ The man checks his watch.

MAN: Hmm, it’s probably time I move on. I mustn’t miss my appointment.

Panel 3/ Background shot of the bald man, in the foreground we see two men wearing balaclavas enter the Cafe, wielding pistols.

BURGLAR #1: Dude, Tim Roth was right, no one ever robs Restaurants!

BURGLAR #2: That reference is at least 15 years old, just get the damn till.

Panel 3/ Burglar #1 shoots a hole in the roof.

BURGLAR #1: Listen up, be a hero, we shoot you, relax and give up your cash and valuables; you’ll be fine.

Panel 4/ The man in the wheelchair is moving toward the door.

BURGLAR #1: What the Hell? You deaf, man?!

MAN: No, just crippled. But I have an appointment, so if you’ll excuse me. And for the record, I’d advise you leave. This is most improper, and whilst I’m sure you have your reasons, crime is never the way.

Panel 5/ Burglar #2 points the gun at Charles’ face. The Burglar is laughing.

BURGLAR #2: Dude, are you serious?

MAN: My name is Charles, not “dude”, and I’ve grown tired of this. You’ve made me late.  

Page 7/

Panel 1/ Splash. Burglar #2 has his gun in his mouth, and the other Burglar is holding his gun to his own head.

CHARLES: Are you aware that approximately one in every million people are born with a genetic trait that sets them apart from humanity?

BURGLAR #1: Holy crap! He’s one of them. He’s a mutie!

CHARLES: Ah, so you are familiar with the concept. I’m glad. You see, mutations aren’t always advantageous. The boy I’m about to visit can’t open his eyes lest he destroy all he sees. I lost the ability to walk when I turned fourteen. But I also gained something.

Page 8/

Panel 1/ Charles is levitating in mid-air, the Burglar’s positions haven’t changed.

CHARLES: I can move things with my mind. All things. For example, right now I’m altering the Synaptic flow of your brain, disrupting the connections between the Occipital Lobe and memory centres so that everything you’re seeing will be stored in your Short Term Memory.

Panel 2/ Close up on Charle’s face. He has a completely relaxed expression.

CHARLES: In five minutes, you’ll forget this ever happened, as will everyone else in this room. And to make sure you don’t try this ever again, I’m altering your Cerebellum, you’ll be physically incapable of firing a trigger. Though it will take a few moments to kick in.

 Panel 3/ Charles has released the two men. They are standing firmly on the floor, with horrified looks on their faces.

BURGLAR #1: Sorry-so-sorry. We’ll go.

CHARLES: Good lad.

Panel 4/ The second Burglar, now behind Charles, then pulls his gun out, points it directly at Charles’ head and fires.

Panel 5/ The bullet is stopped in mid-air.

CHARLES: I can move all things. Now you had best run.

Page 9/

Panel 1/ Charles is in front of a desk. There is an elderly woman seated there.

CHARLES: I’m here to see the Summers’ boy.

RECEPTIONIST: Just a moment... Wait. The Summers’ boy? Are you sure?

CHARLES: Quite.

RECEPTIONIST: I’ll just call Madame Montgomery

Panel 2/ Charles is being lead by a middle-aged woman through a hallway.

MONTGOMERY: Before we visit the Summers’ boy, I’d best warn you. He is not normal. He’s a...mutant.

CHARLES: Well as long as he’s not in a wheelchair, I hate people like that.

MONTGOMERY: Charming.

Panel 3/ Shot of a door with a large label reading; “SCOTT SUMMERS. DANGER. PROCEED WITH CAUTION.” Charles and Montgomery are visible in the background.

CHARLES: Proceed with Caution? Your compassion is breathtaking.

MONTGOMERY: Before you continue with your sanctimonious speech, you might wish to understand that this boy managed to decimate his entire middle school. The boy is a threat to everyone he meets.

CHARLES: We’ll see.

Panel 4/ Charles approaches a 13 year old male, who is sitting on his bed. He is hanging his head in shame, and has a series of bandages wrapped around his eyes.

CHARLES: Hello, Scott. My name is Professor Charles Xavier.

Panel 5/ Charles looks toward Montgomery. Scott has not moved.

CHARLES: Could you give us a moment?

Page 10/

Panel 1/ Charles is holding a brown box.

CHARLES: I know about you, Scott. You’re a mutant.

SCOTT: I’m a freak.

CHARLES: Every thirteen year old boy thinks they’re a freak.

Panel 2/ Scott begins unwrapping his bandages.

SCOTT: Yeah, well, not every thirteen year old guy looks like this.

Panel 3/ Close up on Scott’s face. He’s a handsome man, save for his eyes, which are closed. The skin around his eyes is torn apart and scarred.

SCOTT: I’m immune to my power, unfortunately, when it first manifested; I wasn’t. I tried to get a skin-graft, but the Doctor said that they were unable to operate anywhere near my eyes, due to the large amounts of explosive energy capable of bursting forth from them.

Panel 4/ Front on shot of Xavier opening the box.

CHARLES: Speaking of your gifts, I’ve brought something for you. Something I think may help.

Page 11/

Panel 1/ Scott is leaping in the air with joy. A broad smile across his face. Scott is wearing a pair of red-lens sunglasses.

SCOTT: I CAN SEE!

Panel 2/ Charles is facing an exuberant Scott.

CHARLES: What would you say to coming and living with me as my ward, Scott? You can learn to master your powers.

SCOTT: Master them? I’d rather just get rid of them. But I hate it here, so I’d love to come live with you.

Panel 3/ A sincere smile is spread across Charles’ face.

CHARLES: Excellent! Let’s go home.

Page 12/

Panel 1/ Close up of Scott. He is wearing a technologically advanced visor, with a slim stream of red lens visible. He is standing in a large, grey-walled, cube-like room.

CAP: Present Day. Xavier Mansion; Basement Level. “Danger Room.”

SCOTT: OK, Professor, I’m ready.

CHARLES (OP): Initiate Protocol; Cyclops 01.

Panel 2/ A robotic turret pops out of the ground and fires at Scott. Scott dodges it with a cartwheel.

Panel 3/ A second turret appears behind Scott, and fires. He dodges it with a somersault.

Panel 4/ Three more turrets appear and fire at Scott, who continues to dodge the blasts with a variety of acrobatic manoeuvres.

Page 13/

Panel 1/ Splash. Scott fires off a single beam from his eyes, which ricochets from each turret, destroying all five of them.

SCOTT: Five-in-one. New record!

Page 14/

Panel 1/ Charles and Scott are moving toward the front door of Xavier Mansion. Scott has a towel draped around his neck.

CHARLES: That was impressive, Scott, but remember, surviving is far more important than putting on a show.

SCOTT: I know, Professor, I just need to cut loose now and then. It’s not like I can go out and destroy a mountain.

Panel 2/ Charles stops his wheelchair and faces Scott. Scott looks down toward the Professor.

CHARLES: I actually thought about expanding our ranks a little. Our guest should be here momentarily.

SCOTT: Really? That’s great, Professor. It’s been just the two of us for so long, it’ll be nice to have another person to chat to.

Panel 3/ Perspective from the door. Charles is smiling and Scott has a look of shock on his face.

JEAN: Howdy, guys, my name’s Jean.

Pane 4/ A large shot of a teenage girl with vibrant red hair flowing around her shoulders. She has a huge grin on her face. She’s wearing a short, black and white plaid skirt, and a black, sleeveless shirt.

JEAN: Let’s get Mutating!

Page 15/

Panel 1/ Scott and Jean are eating dinner together. They are seated adjacent to each other. Scott has his sunglasses on, rather than his visor.

SCOTT: So what’s your ability, Jean?

JEAN: No matter what I wear, my butt never looks big. Also, I can move stuff with my mind, but it’s more like a shove, than a claw machine. Like, I could throw you against the wall, and tear all your clothes off, just with my mind.

Panel 2/ Same shot.

SCOTT: Oh...OK, that’s like Professor. Only, he doesn’t...clothes.

JEAN: What about you? What can you do? Aside from not look like a douche while wearing sunglasses inside?

SCOTT: Um, well, at first I wasn’t really sure what I did, but the Professor helped me figure it out.

Panel 3/ Scott is moving his arms around as he’s speaking. Same shot aside from that.

SCOTT: Basically, my body absorbs all kinds of energy, particularly sunlight. It then converts that energy into a beam of pure concussive force that is fired from my eyes. For whatever reason, I can’t control it though, so I have to wear these ruby-quartz glasses.

 JEAN: Huh, interesting. If looks could kill, ey?

Panel 4/ Close up on a smiling Scott.

SCOTT: Yeah.

Page 16/

Panel 1/ Topographic shot of Charles Xavier is sleeping in his bed.

CAP: Three Weeks Later.

Panel 2/ Same angle shot of a shadow falling across Charles’ bed.

VOICE: Hello again, old friend.

Panel 3/ Same angle shot of Charles’ empty bed.  

Page 17/

Panel 1/ Scott, in a shirt and boxer shorts, his sleeping attire, runs into Jean’s room.

SCOTT: Jean! Wake up!

Panel 2/ Close up on Jean’s confused face. Her hair is dishevelled and she’s clearly still tired.

JEAN: Scott, before 7 AM, I’m not cute and charming, I’m vicious and ***-kicky.

Panel 3/ Close up of Scott’s concerned face.

SCOTT: The Professor is gone.

Page 18/

Panel 1/ Scott and Jean are suited up in full combat gear. Scott has a phone in his hands.

JEAN: Who’re you calling? You only know the Prof and I.

SCOTT: The Professor once told me that if anything ever happened to me, I should call a friend of his named Moira, and that she would know what to do.

Panel 2/ Close up of Jean nodding.

Panel 3/ Jean has stopped nodding and begins laughing.

JEAN: Oh man, I can’t believe the Prof had a girlfriend, that just seems so weird.

Panel 4/ Scott, holding the phone to his ear, looks back at Jean.

SCOTT: We don’t know they slept together.

JEAN: Pfft. You are so naive. Kinda hot though.

Panel 5/ Close up of Scott on the phone.

SCOTT: Jean, we’ll flirt late- Oh, yes. Hello? Moira McTaggert, this is Scott Summers; Professor Charles Xavier’s ward. I need your help.

Page 19/

Panel 1/ Pitch black.

VOICE: Three blind mice. Three blind mice.

Panel 2/ A mouse is running along the ground.

VOICE: See how they run. See how they run.

Panel 3/ A hand grabs the mouse by the tail.

VOICE: They all ran after the farmer’s wife.

Panel 4/ As the mouse is struggling to escape the person’s grip, their other hand brings a knife down severing the mouse’s tail.

VOICE: Who cut off their tails with a carving knife?

Panel 5/ The hand is now holding the mouse by the stomach.

VOICE: Did you ever see such a sight in your life-

Panel 6/ Silhouette of the mouse being dropped into the person’s mouth.

VOICE: CRUNCH. As three blind mice?

Page 20/

Panel 1/ Splash. A handsome man is sitting cross-legged in a dark room. He has two large wings extending from his back. There are several mice in a box in front of him.

ANGEL: One down, who’s up next? Three blind mice...

Rated T.

 Page 1/

Panel 1:

Show a Professor standing in his office, gesturing toward the “camera”, with a broad smile on his face. Artist’s discretion on Professor’s appearance/gender.

PROF: Gentlemen, I’m glad you could make it. You’re my two most promising students.

Panel 2:

Close up on the Professor’s grinning face.

PROF:   Now, I know there’s a year’s difference between the two of you, but I’m certain that won’t amount to anything, as you’re both well beyond your peers.

Panel 3:

Large shot of two young men standing just inside the doorway. One has shoulder-length light brown hair, is tall, and has a confident stance. He has a smug grin on his face and is wearing an open-collared shirt and jeans. The other man has short black hair, glasses and is leaning gawkily against the wall. He is wearing a jacket that’s too big for him, dark pants and a white, buttoned shirt.

PROF (OP): Victor Von Doom, meet Reed Richards. I have a feeling you’ll do great works together.

Page 2/

Panel 1:

Show an angled topographic view of a massive, single-story building, on a large stretch of open land.

CAP: 5 Years Later. Boulder, Utah. Cosmic Industries.

Panel 2:

Close up shot of an ugly, blue gelatinous plant, Reed is in the background, studying the planet with various examination equipment. Reed is wearing a standard white coat, with a blue undershirt. He is hunched over the desk examining the plant.

REED: Victor! Victor, come see this! This plant’s molecular structure is amazing! It can stretch and modify its shape, with no adverse effect on its inherent constitution. It’s just...Fantastic!

Panel 3:

Reed continues to study the plant.

VICTOR (OP): Reed, you throw that term around so often it’s lost all meaning.

REED: Well, please forgive me for my lack of cynicism and get in here.

Panel 4:

Shot of Victor Von Doom standing in the doorway. Unlike Reed, who is hunched over at the desk, Victor is standing tall, and has his arms crossed. He has a bored look on his face.

VICTOR: You know Reed, when you and I developed the Portal, and gained the ability to travel to other dimensions, I thought we could use it to study the technology of other worlds, not steal their weeds.

Panel 5:

Reed is adjusting his glasses and turning to face Victor.

REED: When will you learn; my friend, that life is the ultimate technology?

Page 3/

Panel 1:

Topographic shot of Reed Richards asleep on his bed. His room is bare, comprised only of a bed, wardrobe and small bedside cabinet.

CAP: 1 Week Later; Cosmic Industries.

SFX: BANG

Panel 2:

Same shot.

SFX: BANG

Panel 3:

Reed’s eyes open quickly.

REED: Whh-what the?

SFX: BANG

Panel 4:

Side on shot of Reed sitting on his bed, preparing to get up. He is wearing blue, full length pyjamas with a headshot of Einstein printed on the chest.  

REED: What in the world is Victor doing?

SFX: BANG

Panel 5:

Shot from the hallway; Reed’s head is poking out of his room.

SFX:   BANG

Page 4/

Panel 1:

Show Reed walking through the halls of Cosmic Industries.

SFX: BANG

Panel 2:

Reed is standing in front of the room labelled “PORTAL TECH”

SFX: BZZZZZT

Panel 3:

Reed enters the room, and surveys it. There is an open door extending from the wall. The Portal itself is positioned against the wall; it is a large circular object, as one would expect; with numerous cords, wires and electrical equipment stemming from it.

REED: Victor...

Panel 4/ Reed walks through the door.

Pages 5 & 6/

Panel 1:

SPLASH. Back shot of Reed staring, in shock, with three clear cells in front of him. There are three humanoid beings in each cell. One is a large, orange rock creature, who is unconscious and smoking. He is approximately 8 feet tall, though his body is sprawled across the floor. In the second cell a young woman with blonde hair is trying to break down the cell wall by throwing her body forward; a shaky force field is emanating from her. There is a male youth in the corner of the third cell, with blonde hair, crying in a heap. His cell has traces of ash throughout it.

REED: My God...

Page 7/

Panel 1:

Reed is standing in front of the woman’s cell. His hands are pressed against.

REED: What’s happening? Why are you in here?

WOMAN: Help me. Please.

Panel 2:

Reed turns his head, looking around the room.

REED: I will, just, who are you?

WOMAN: Mm-My name, it’s Su-Xan. A man, he kidnapped me, the child and the rock creature. I’ve not seen either before I was brought here. Where is here?

Panel 3:

Reed is rummaging through various desks.

REED: Here? Here is, um, Boulder, Utah. Sorry, I’m just searching for some kind of key.

Panel 4:

Close up of a shocked Reed. A man’s silhouette is visible behind him.

VICTOR (OP): You were right, Reed, you know. Life is the ultimate technology, and I found new technology on other worlds.

Page 8/

Panel 1:

Reed is standing in front of Victor, his hands in the air as he desperately trying to comprehend the situation.

REED: Victor... Why is there a child and woman locked up? And what’s the rock man?

VICTOR: Do you like them? I found them very interesting. The young woman in particular.

SU-XAN: You-you know our captor?

Panel 2:

Reed turns to face Su.

REED: He’s my partner...

VICTOR: You know Reed, that twelve year old over there? He is capable of manipulating fire, even turning it into a secondary exoskeleton.  And he can fly too, I guess Santa really liked him.

Panel 3:

Reed faces Victor again. Victor is elevated on a step, and still oozing confidence in his stance. The dishevelled Reed looks like a confused child in comparison.

VICTOR: And what’s truly fantastic Reed? He is not the only one who can do it. His entire world has these abilities.

REED: So you captured him? For what? As a trophy?

Panel 4: Victor moves closer to Reed. His hand is raised in the air; preparing for a monologue.

VICTOR: Do you know what his world is? It’s not alien. It’s Earth. Just another Earth in another dimension. And he can do all that. What can we do, Reed? The Rock man, that Thing, is several centuries old and can move mountains. The woman? She can bend light.

Panel 5:

Victor is staring at the youth.  

VICTOR: She can turn herself invisible and forcibly control light as a physical construct; giving her the ability to move objects with her will alone. And again; this is a species-wide ability. She can hear better than any human being on this Earth, as she has had to accommodate for her enemies always being invisible.

Page 9/

Panel 1:

Victor is punching the young boy’s Cell wall.

VICTOR: WHERE DO THE GIFTS END, REED? I woke up and realised my species was a pathetic puddle of inequity, of mediocrity. No matter how hard we try, these things were simply born better. Despite all that though, Reed, you and I; we are smarter.

REED: Victor... How did you get these people? Did the Doombot Rover bring them back?

Panel 2:

Large panel; it’s speech time. Side on view. Victor’s hand is now open and his arm is outstretched; he’s leaning against the cell. His other hand is partially covering his face in exasperation. Reed is standing before him; while Su is between them; staring angrily at the two.

VICTOR: No. I was using the Rover to survey other worlds, looking for your precious plants, when I discovered the Rock creature’s home. I knew its strength would destroy the Rover; so I developed an electrical device that would incapacitate it. I journeyed to the other Earth, and returned with my prize.

REED: But Victor; the Portal was never designed to transport sentient creatures, the enhanced Cerebral activity isn’t compatible.

VICTOR: Do you take me for a fool? I adapted the Portal technology to accommodate such issues.

REED: Damnit, Victor. I do the Math; you build the thing. That’s how we do it. You’ve risked their lives and your own!

SU-XAN: You helped bring us here? You helped steal us from our home?

Page 10/

Panel 1:

Reed is standing in front of Su-XAN; staring directly at her.

REED: I had no idea Victor would do this, I promise you’ll be let go immediately. And I’m sorry for all of this.

Panel 2:

Reed is staring menacingly at Victor.

REED: Victor, let them go, and get them home; now.

VICTOR: Well, look who grew a spine! I’ll send them home when I’m done with them, Reed, and not before.

Panel 3:

The rock creature is slowly getting to its feet. Victor is visible in the background, he is gesturing toward the creature.

VICTOR: Welcome to the discussion, stone thing.

ROCK CREATURE: My name is Bender; son of Crusher, and you had best let me out of here, before I break you in half.

VICTOR: Clearly, civility goes wanting on your Earth. Such a shame.

Panel 4:

Reed has grabbed Victor by the throat. Victor is holding his hand over his breast pocket.

REED: Victor; let them go. NOW. And then, we’ll get you some help too.

VICTOR: Release me, Reed, or I’ll have you in a cell as well. My convictions are greater than yours.

Panel 5:

The room goes red, as an alarm system activates.

CAP: DANGER. EVACUATION NECESSARY. PORTAL SYSTEM MALFUNCTION. EXPLOSION IMMINENT.

REED: DAMNIT, Victor! I told you the Portal couldn’t facilitate a sentient and conscious being.

Page 11/

Panel 1:

Reed has grabbed a device from the inside of Victor’s jacket, while Victor was distracted (Victor should be looking around the room as the commotion occurs).

Panel 2:

Reed pushes a button on the device and the cells open.

Panel 3:

The three captives burst from their cells; the youth is on fire and Bender is lunging forward towards Victor.

BENDER: KILL YOU!

Panel 4:

Victor leaps backward and activates a button on his belt; causing a series of Doombot rovers (7 foot tall,silver, humanoid robots) appear between Victor and his captives.

DOOMBOTS: Protect Creator. Defend Creator.

Page 12/

Panel 1:

SPLASH. Victor is fleeing as the Doombots are destroyed by the captives. Reed is following Victor. Su is destroying a Doombot with her force field attacks, while Bender smashes  them; and the youth incinerates them.

Page 13/

Panel 1: Victor is typing away at a computer. Reed is approaching him.

VICTOR: We have to save the Portal technology, I refuse to lose my life’s work because of you, Reed.

REED: Victor; you’ve bastardised our work; and turned us into monsters. It’s time to let it go.

Panel 2:

Victor punches Reed in the face.

VICTOR: You damn worm! I knew you lacked the will to truly pursue progress. Why do you think I didn’t tell you about those three? You were too busy with your plants to realise that we were just God’s joke; that they’re the real dominant species of Earth.

Panel 3:

Reed is holding his chin as he pleads to an increasingly deranged Victor.

REED: Victor; you need help. The Portal, I think it damaged you when you went through it. It’s ok, my friend. I’m here.

Panel 4:

Victor and Reed look up startled.

SU-XAN (OP): You two. Get us home. Now.  

Page 14/

Panel 1:

An enraged Bender, Su-Xan and the youth stand before Victor and Reed, the alarm is still active.

REED: I don’t think we can. The Portal... It’s about to compress into a dimensional singularity, and release a wave of explosive energy. We have to leave; now.

Panel 2:

Victor smashes a glass container, the one with the Blue Planet from earlier, over Reed’s head).

VICTOR: Stay down, Reed. I can’t have your morality sacrificing my research. Progress is never victimless. I’m sorry, my friend; but this is bigger than you.

Panel 3:  

Victor flies across the room as Su-Xan blasts him. He crashes into the wall.

SU-XAN: Come on, let’s get out of here.

Panel 4:

The Blue plant is being absorbed by Reed’s skin; and his body begins to lose its shape as he transforms into a puddle.

Panel 5:

Bender, Su-Xan and the youth, look down at Reed; who has now become a jelly-like substance. Su-Xan is holding the youth’s hand.

BENDER: What about him?

YOUTH: He’s not the bad guy.

SU-XAN: He’s the reason we’re here.

REED: Ssssssaaavvvee yoourrrrssssssssssssseelvvvveeessssss. Ruuuuuuun.

Page 15/

Panel 1: Victor is lying on the ground, a Doombot stands before him.

DOOMBOT: Protect Creator. Defend Creator.

Panel 2: Reed, still a blob, is being carried out in a large bubble of light by Su-Xan, with Bender and the youth beside her, as they run from the building.

Panel 3: Topographic shot of a huge explosion that engulfs the Cosmic Industries Building.

Panel 4: The captives and Reed are thrown forward.

Page 16/

Panel 1: Su-Xan is driving a car, with Cosmic Industries tattooed across its side, with Bender and the youth in tow. Side on view. Bender is in the back seat, looking toward the trunk of the car.

BENDER: You think he’ll be alright in there?

SU-XAN: Better than he would be if we left him back in that building.

Panel 2:

Same shot.

YOUTH: So what do we do now?

SU-XAN: You stay with me, young one. I’ll take care of you. As for the big guy; your choice. Something tells me you won’t fit in here though. The creatures of this Earth look more like me and the boy than you.

Panel 3: Same shot.

BENDER: I’ll be fine. I’ll find somewhere quiet; I’ll survive.

SFX: Bump.

Panel 4The car stops on the side of the road.

SU-XAN: What was that noise?

Panel 5:

Shot from the trunk of Su, Bender and the youth; they all look shocked.

BENDER: H-how?

Panel 6: Over the shoulder view of the trunk. It’s empty.

BENDER: Where’d he go?

REED (OP): Hey, guys; check this out.

Page 17/

Panel 1:

SPLASH. Reed is stretching several feet in the air, and spreading his arms and legs about in a variety of positions. One leg is extended as a small stretch of body extending from the car’s trunk. Reed has a large grin on his face.

REED: Fantastic.

Page 18/

Panel 1: Topographic view of the wreckage of the Cosmic Industries’ Building.

Panel 2:

Zoom in to the building itself, where a large amount of smoke and fire cover the more intricate details of the devastated facility. The outline of a Doombot is visible.

DOOMBOT: Protect Creator. Defend Creator.

Panel 3:

Close up shot of a hideously scarred Victor Von Doom. He is meaning both his right and left arms, and is lying in a crumpled heat. He has severe burns all over his body.

DOOMBOT: Protect Creator. Defend Creator.

Panel 4:

The Doombot removes its arms and attaches them to Victor.

VICTOR: ARGH!

Panel 5:

Silhouette of the Doombot working more on Von Doom.

Page 18/

Panel 1:

SPLASH. Victor now, with metal-prosthetic arms, and a silver exoskeleton; and a mask taken from the face of a Doombot, throws his arms in the air.

VICTOR: RICHARDS!

END Issue #1

I don't think this is the only way to view Morrison's Batman, in fact I'm not even endorsing this theory, this is just some stuff I thought up while I was mowing the lawn and mulling Batman Inc over. If you enjoy it; great, if not; no harm, no foul :)