Komodo - Where You've Been - R.A. Wonsowski

Layout
123
456
789

Panel 1- KOMODO is in a Paraguayan hospital room. she is wearing scrubs and has a stethoscope slung about her neck. She is smiling gently and waving to a young girl patient with a cleft palate in an old iron bed, wearing an Operation Smile t-shirt. (Note: Komodo should look like she found an intermediary form, not so lizard-y, just enough to let her keep her legs.) The equipment should look like 70s/80s surplus medical equipment. Foreground, CAPTAIN AMERICA waits on Komodo, leaning against an empty iron bedframe. His cowl is down and his shield is on his back.

CAP: I wish you would reconsider. I've seen the tapes, you were an impressive asset to the Initiative.

CAP: And with Drs. Pym and McCoy on personal leave, we could use another Avenger with medic experience.

Panel 2- CAP and KOMODO walk down the hospital hallway. The linoleum tile on the floor is peeling and the walls are unfinished concrete. Children between 2 and 8 with cleft palates are sitting with their parents along the sides. Two teenage volunteers in yellow tees and shorts pass out small stuffed animals to the children. KOMODO's smile has gone.

KOMODO: To be an Avenger is an honor and a calling of the highest order...

KOMODO: But again, Captain, I must say no.

Panel 3- KOMODO and CAP stop at a water cooler. KOMODO holds two small paper cones in one hand while working the spigot with the other.

KOMODO: Take Pym and Beast. Let us throw in Reed Richards and Dr. Strange for good measure.

KOMODO: You beat back Galactus and Kang and Immortus and Dormammu. Congratulations.

Panel 4- KOMODO passes a water cone to CAP as she gestures with hers.

KOMODO: You cured the Legacy virus and isolated vampire anticoagulants. Amazing scientific breakthroughs.

KOMODO: And for all your genius, you could not stop a mundane cancer from killing the Kree Captain Marvel.

Panel 5- CAP and KOMODO, their backs to us now, are walking out two glass double doors. The sweltering sun outside silhouettes the pair as they exit the hospital. CAP has turned from KOMODO in shame, and passes his water to an old woman sitting cross-legged on the floor.

KOMODO: If you really want to make the world a better place, find a cure for AIDS. Design crop mutations that grow in desert climes.

KOMODO: Strap the Palestinian and Israeli premiers to their chairs and don't feed them until they bang out a treaty.

Panel 6- CAP and KOMODO are surrounded by children playing soccer in a dirt lot outside the hospital. KOMODO'S arms are spread wide as if to embrace the world.  CAP looks perplexed more by the children running around him than by her argument.  A little GIRL in a dirty yellow dress tugs on the leg of KOMODO's scrubs.

KOMODO: Beating the crap out of another man-child in spandex solves nothing.

KOMODO: This...

Panel 7- KOMODO bends at the waist to face the GIRL, sternly wondering why the interruption.

NO COPY

Panel 8- The GIRL throws her arms around KOMODO's neck in an enthusiastic expression of thanks. KOMODO's eyes are wide with surprise.

SoundFX:  *hug!*

Panel 9- The GIRL runs off to join the game. KOMODO gestures to her as both she and CAP smile at each other, KOMODO from the unexpected affection, CAP for finally understanding.

KOMODO: That is how you change the world.

The President Of The United States of America - The Day After - Niel Jacoby

Panel 1: The President of the United States, same one as in the real world, sits at his desk, one hand holding his phone to his ear, other hand holding some sort of paperwork he's reading over. He's determined and more occupied with the work at hand than the conversation, but still has a smile on his face. A clock in the background reads 8:30.

Caption: NOVEMBER 7, 2012

PHONE: EVEN THOUGH WE AS A NATION MAY HAVE DISAGREEMENTS AMONG OURSELVES, WE CAN STILL WORK TOGETHER TO SOLVE PROBLEMS WHEN IT REALLY COUNTS. I'VE GOT TO SAY I'M GLAD WE HAVE A PRESIDENT WHO TRULY UNDERSTANDS THAT.

POTUS: ME TOO, CAP. AND I ALWAYS DID LOOK UP TO YOU.

Panel 2: Same mileu as the first, different paperwork, same expression, 8:50.

PHONE: VERILY, I KNOW NIGH LITTLE OF THINE MORTAL POLITICS, BUT THEY SEEM A DAMN SIGHT HARDER THAN SIMPLY KILLING THE STRONGEST MAN IN THE VILLAGE TO OBTAIN DOMINANCE OVER HIS LAND AND WOMEN. I DOFF MY WINGED CAP TO THEE, AS THOU HAST CONQUERED A SYSTEM I FALL SHORT OF EVEN UNDERSTANDING, NOT ONCE BUT TWICE. BUT EVEN YOU HAVE NOT KNOCKED OUT THE TEETH OF THE MIDGARD SERPENT WHILST THOU WEREST EVEN IN ITS OWN MOUTH, SO AS MY COMPATRIOT CLINT BARTON WOULDST SAY, "NEENER NEENER".

POTUS: YOU EVER DEAL WITH A TICKED-OFF HILLARY CLINTON?

PHONE: ...

POTUS: I REST MY CASE.

Panel 3: Same general environs as the 1st and 2nd, 9:16. The president is looking a bit annoyed.

PHONE: LISTEN, BUB, EVEN THOUGH YA GOT TA BIN LADEN BEFORE I HAD THE CHANCE, I DON'T HOLD IT AGAINST YA.

PHONE(SMALLER): LOGAN! THE PRESIDENT IS A BUSY MAN AND DOESN'T NEED THE HASSLE OF YOU CALLING HIM ALL THE TIME! LET HIM GET BACK TO HIS JOB!

PHONE: *SIGH* FINE, KITTY. I'LL LET THE PRESIDENT GET BACK TO WHAT HE WAS DOING.

POTUS: YOU'D BETTER LISTEN TO HER, LOGAN. SHE SEEMS LIKE SHE'S GOT A BETTER HEAD ON HER SHOULDERS THAN YOU DO.

PHONE: AH, WHADDA YOU KNOW? YOU DON'T HAVE ADAMANTIUM BONES.

Panel 4: 10:02. The president doesn't even look like he's listening, just going through the paperwork.

PHONE: HEY BARRY, THIS IS DEADPOOL. I JUST WANTED TO SAY, FROM THE BOTTOM OF MY HEART--

Panel 5: 10:03. The president has the phone at arm's length, and is calling out to the other room.

PHONE(Much louder than before): BABA BOOEY BABA BOOEY HOWARD STERN'S PENIS!

POTUS: ANYONE KNOW IF WE CAN JUST BLOCK ALL CALLS FROM CANADA FOR THIS PHONE? MAYBE REDIRECT THEM TO DIAMOND JOE? ANYONE?

Taskmaster, Cut Faster - Niel Jacoby

To artist: go with what you think makes the best layout.

Panel 1: Taskmaster, Mysterio, El Toro Rojo, and Silencer are sitting at a table in the middle of a crowded Bar With No Name. A bottle of Bucky Beer is in Taskmaster's hand, and El Toro Rojo has a large bottle of Grey Goose. The bar is emphatically not bumpin', and absolutely cannot be said to be thumpin'. Mysterio is clearly nudging Taskmaster, and Silencer is leaning towards Taskmaster.

El Toro Rojo: MAAAAAAAN, THIS BAR IS LAME.

Mysterio: IF ONLY SOMEONE WERE AROUND TO LIVEN UP THE PROCEEDINGS.

Silencer: ...

Inset panel: Taskmaster looks like he's pretending to be very put upon to be asked, but still begrudgingly aquiescing. Maybe he's rolling his eyes.

Taskmaster: ALRIIIIIIIIIIIIIIIIIIIIIIIIIGHT. I GUEEEEEEEEEEEEESS I'LL TRY SOME STUFF.

Panel 2: Taskmaster is walking across a stage, his progress shown by ghosted images of Spider-man and himself alternating He has a mic and is clearly drunk, but not crazy so. The one connected to the third balloon should be looking directly at the viewpoint.

Taskmaster: OOH, LOOK AT ME I'M SPIDER-MAN, I THINK I'M SO FUNNY. HEY PASTE-BOY, EASY ON THE WHITE STUFF, THIS SUIT'S TAILORED! OH MAN, LOOK AT ME SWING AROUND AND PUNCH FURRIES, I'M SO RAD.

Taskmaster: ON THE SIDE I GET SOME FROM A SEXY CAT BURGLAR AND I STILL WHINE ABOUT HOW I CAN'T GET PLAY, MAYBE BECAUSE I SOLD THE DEVIL MY MARRAIGE TO MY HOT WIFE SO MY OLD-ASS GRANDMOTHER WOULDN'T DIE OF A FRIGGIN' GUNSHOT WOUND.

Taskmaster(this is the one where he's looking at the viewpoint): YEAH, I SAID IT. WHATCHA GONNA DO, DORK-BOY?

Taskmaster: YOU KNOW HOW MANY TIMES I'VE BEEN GUNSHOT WOUNDED? I DON'T, BECAUSE I GET GUNSHOT WOUNDED ALL THE DAMN TIME! IT'S ALMOST PART OF MY BALANCED BREAKFAST AT THIS POINT.

Panel 3: Taskmaster is doing one-handed vertical pushups while beer-bonging. An image of Captain America is ghosted clearly next to him to show who he's taking the skills from. The supervillains in the bar look on.

Many of the supervillains in the crowd: CHUG! CHUG! CHUG! CHUG!

Panel 4: Taskmaster is cutting it up on the wheels of steel, and is fully domed on the sauce by this point, bubbles, swaying, and all. At least 2 DJs are ghosted with him. The crowd is hyped and Mysterio has a mic and has opened his fishbowl as a fog machine

SFX: DEEJAYING NOISES(not what I actually want in there, maybe some music notes and scritchy-scratch noises, go with what you go with)

Mysterio:
YEAH YEAH YEAH!
AND YOU DON'T STOP!
TASKMASTER, HE DON'T STOP!
HE PROBABLY WON'T STOP!
I'D LIKE TO KNOW IF HE CAN STOP!
HE GOES ON!

Crowd: WOOOOOOOOOOOOOOOOOOO!

Mysterio: LIKE A MARATHON!

Captain America – The Terrible Terror of Mr. Trajectory! - MK Stangeland Jr.

(CAPTAIN AMERICA is currently fighting SIG. TRAIETTORIA (New character), who’s already knocked out BUCKY, making it a solid one-on-one fight. SIG TRAIETTORIA (which roughly translates from Italian to “Mr. Trajectory”) is meant to be a BATROC type character with a touch of BULLSEYE, and originally hailing from Italy.)

(6 Panels)

Panel 1: CAPTAIN AMERICA’s shield flies past SIG. TRAIETTORIA and bounces off a wall as he leaps out of the way.

SFX: Ding!

SIG. TRAIETTORIA: ma c'non è un uomo vivo…

Panel 2: SIG. TRAIETTORIA catches the shield and throws it back at CAPTAIN AMERICA as it moves behind where he was.

SIG. TRAIETTORIA: chi può outfight!

Panel 3: CAPTAIN AMERICA dodges his shield, causing it to fly behind him and bounce off a wall.

SFX: Donk!

Panel 4: CAPTAIN AMERICA catches his shield.

Panel 5: CAPTAIN AMERICA swing his shield around, causing SIG. TRAIETTORIA to hit it directly.

SFX: Thunk!

SIG. TRAIETTORIA: Ow!

Panel 6: CAPTAIN AMERICA swings his shield so that it hits SIG. TRAIETTORIA in an uppercut.

SFX: WAM!

(END PAGE)

Captain America - The Best Laid Plans - Grant McLaughlin

So this seemed like a great idea in my head. I can't comment as to whether its translation to script form was successful. I will leave that for you to decide.

Four rows of equal size. Each row is made up of a single panel.

1 – A river at the base of a cliff. The water is littered with debris from a recent car crash. Boxes, broken pieces of wood, various supplies, and so forth are floating all over the place. There is also a large army transport truck that is in process of sinking – the items were obviously on the truck's flatbed before the crash. In the middle of all this are Captain America and Bucky, treading water. Captain America glares unhappily at Bucky. Bucky looks back at him sheepishly. No dialogue.

2 – Same scene. The truck has almost entirely sunk below the water's surface. Bucky looks towards it. Captain America continues to glare at Bucky. No dialogue.

3 – Same scene. The truck is gone, entirely submerged, although the many pieces of debris remain. Bucky looks back at Captain America, his sheepish grin now larger and his face reddening from embarrassment.  Captain America continues to glare at Bucky.  No dialogue.

4 – Same scene.  If anything, Captain America might be even less impressed with Bucky in this panel.

BUCKY (1): ...

BUCKY (2): So I'll be the first to admit that that could have gone a little better.

Captain America - Super Weapon - Matt Duarte

Captain America in “Super Weapon” by Matt Duarte

Note from the author: I know I kind of cheated with this week's script, as it is not so much about the character, than his importance to the world in where he lived, and more importantly his influence on the war effort. I hope you enjoy it.

Panel 1

Description: President Harry Truman sits in the Oval Office. He looks sombre and with the weight of the world on his shoulders. He has his hands crossed in front of his face, looking down. An advisor stands next to him.

CAPTION: April 21st, 1945

TRUMAN: Any word of Corporal Rogers?

ADVISOR: I'm afraid not, sir. All the units have combed the area to the best of their abilities, but found nothing.

Panel 2

Description: Truman has stood up, looking out the window. There is no sun coming through, only a drab grey and pale light.

TRUMAN: We have to assume he is dead.

TRUMAN: A shame, I would have liked to shake his hand.

Panel 3

Description: Truman has sat down again. His expression is even more dire now, if that's even possible. He is taking one of his hands to his forehead.

TRUMAN: The American people have lost their president AND their greatest war symbol.

TRUMAN: In the same month.

TRUMAN: Morale is clearly down. Our enemies will try to take advantage of this moment.

Panel 4

Description: Truman is now signing something on his desk with a pen.

TRUMAN: Call Project Manhattan. Tell them we lost one super weapon already, we will need the other one ready for use as soon as possible.

TRUMAN: And may posterity forgive us for our actions.

The End.

Captain America - Lightning in a Bottle - Sime McDonald

The story so far...

The US Military received word of a Nazi weapons facility on the Danish island of Bornholm. Rumors suggested they were on the verge of producing an operational nuclear bomb. Captain America and Bucky were sent in to demolish the facility and extract the head Nazi scientist in charge of the project, Professor Otto Hahn. 

But somebody beat the Americans to the punch. 

By the time Cap and Bucky arrived at the facility, its Nazi guards were dead, the majority of its scientists having suffered a similar fate - though they soon learn Otto Hahn managed to escape the massacre. As the pair explore the facility they are attacked and captured by members of the German Resistance and taken to the leader of this mission, who stands before the top secret project Otto Hahn and his fellow professors were working on.

It is not a nuclear bomb.

Rather, it is a antiquated machine that contains glowing specks of cosmic energy; minute chunks of a cosmic cube. 

It is a machine capable of altering Earth's history.

Not just Earth...

... the Universe.

PAGE 19 (of 22)

PANEL ONE

The German Resistance Leader looms over Captain America. Our hero's hands are cuffed, his iconic shield is nowhere in sight. Two guards positioned slightly behind him have their pistols trained on his back. Behind the German Resistance Leader - in front of Cap - the shards of cosmic cubes glow ever brighter. 

The machine is powering up.

GERMAN RESISTANCE LEADER

There are a finite number of universes out there, Captain.

A finite number of universes very different to our own.

A finite number of perfectly parallel universes.

PANEL TWO
A pained expression crosses the Leader's face.

GERMAN RESISTANCE LEADER [1]

A finite number of ways our history can play out.

GERMAN RESISTANCE LEADER [2]

Do you know what this means, Captain?

PANEL THREE
Tight on Cap, pleading.

CAPTAIN AMERICA

Don't.

PANEL FOUR
On the Leader. His eyes are bulging, visibly revealing his psychosis. His hands hover above the cosmic cube machine console.

GERMAN RESISTANCE LEADER [1]

It means this Goddamn Nazi scourge can never be erased.

Not entirely.

GERMAN RESISTANCE LEADER [2]

It will always exist. Somewhere. 

On some... plane of existence. 

And I - -

PANEL FIVE
Tight on Cap, his mouth open, yelling - -

CAPTAIN AMERICA

Don't!

PANEL SIX
The leader presses down on a button.

GERMAN RESISTANCE LEADER

- - could not live with myself, doing nothing.

SFX

Vmmmmmmmmmmmmmm!

Captain America - One Punch - Rol Hirst

Panel One.

An underground resistance bar in Nazi-occupied France. Exterior shot. From the outside it’s little more than a shack, deep in the forests of Rethondes. There’s snow on the ground and the windows are boarded up to prevent light getting out – though enough illumination peeps through the boards to prepare us for the party inside.

BUCKY (from inside): And then – pow! Right on the jaw!

Panel Two.

Inside the bar, Bucky is regaling a group of inebriated GIs with the story of how Cap punched out Hitler. (See the cover of Captain America #1, etc.) The GIs are cheering, raising their glasses, toasting Captain America… who sits to one side of the group, looking uncomfortable. Across the bar, James Montgomery Falsworth, the original Union Jack, sits quietly watching Cap.

BUCKY: Take that, Adolph!

GIs: Hooray! Weeeooow! Right on the jaw! Sock it to him!

Panel Three.

The celebration continues and hardly anyone notices Cap leave the bar. Union Jack is still watching.

Panel Four.

Cap stands out on the porch of the shack, looking out into the dark woods, thinking. Union Jack has followed him, though he’s still off-panel here.

UNION JACK (O/P): You should have killed him while you had the chance.

Panel Five.

Cap turns to look at Falsworth, looking stern, ready for an argument.

CAP: You weren’t there, James… the opportunity wasn’t… we’re supposed to be…

UNION JACK: They hit London again last night. Six hundred people dead. Two of my uncles included.

Panel Six.

Union Jack walks away from Cap, out into the snowy forest. He doesn’t look back. Cap watches him go. He tries to argue, but he realises this isn’t the time.

CAP: James…!

UNION JACK: Still, next time, maybe when the Luftwaffe are flying over Washington...

Captain America - Making Sense of Memories - Ben Rosenthal

1. A tv studio. Steve Rogers sits on a stool, being interviewed about his time in World War II. He is on his Military uniform. Steve is not very comfortable talking about it, which can be seen in his face. He is addressing the host of the show (off panel).

STEVE ROGERS

Smell. It’s the sense that most closely links us to memory. A whiff of perfume reminding us of a girl we loved. A bakery door that smells like grandma’s kitchen. Then the smells that we will never be able to forget.

2. A close up of Steve’s face. He is recalling a memory.

STEVE ROGERS

After 64 years I can still recall it clearly.

I put it down to the odour caused by their wet field grey uniforms, mixed with their pink disinfectant and black bread that was part of their rations.

3. A shot of Steve’s hands. The stiffness of his cuffs is visible, with his hands open. His palms are facing upwards, fingers upturned. They are loose, as if his body is remembering the story as well as his memory.

STEVE ROGERS

Near the Chateau de la Londe we came across a German dug out, only recently vacated. It was constructed as a square room, cut into a steep bank of earth.

It was a complete home. Tables, chairs and bits of furniture. In the far corner was a stove. But the smell. That German smell. It was very strong. Pungent.

4. Same as Panel 1. Steve is now back to addressing our host (off panel). He is rigid, looking uncomfortable.

STEVE ROGERS

I have not smelled it since. And hope that I never will.

It has been documented that Allied troops reported a distinct odour from both German troops and their vehicles. It is unknown whether this is due to the uniform of the German soldier getting wet in the rain, or their diet. However, this smell is what helped many Allied troops locating German’s during night raids in WW2. It has been reported that this distinctive smell has not been encountered by Veterans after WW2.

Captain America – The Onward Dirge – Ryan K Lindsay

Page 1 - 4 Panels

1. Captain America looks out to see atop a large ship. They're out on a cold and dark sea at day, in the background on the ship we can see a few jet fighters, those Tanks used on D-Day, and some Rotabuggies. Cap's got the mask off, the shield on as a backpack (because I always loved that feature), and he’s thinking. The sky is grey, the tone is muted, battle is not far away. Bucky is behind Cap, and off panel, and he’s speaking to Cap. This panel should be wide across the top.

Bucky: It’s not as crazy as it feels.

2. Cap laughs without turning around.

Cap: It feels like I’ll never get used to change.
Cap: My body, these weapons…the enemy. World’s growing at an exponential rate.
Bucky: That’s not a good thing?
Cap: For every good an equal evil will mirror.

3. Cap turns around, Bucky stands firm, he believes in this mission.

Bucky: Then we’ll always have to be better.
Cap: We’re riding a giant ice bullet.
Bucky: It’s just a ship, Cap. Pykecrete isn’t magic, it’s science.
Cap: Feels like a mistake.

4. Cap looks back out over the ocea, we have panned back to see the two men atop a ship made of a strange translucent material (the aforementioned Pykecrete) and in the distance is a Norwegian island with a HYDRA base on it. Have fun making it all look awesome!

Cap: …
Cap: If war is hell then why am I so damn cold.
Bucky: I don’t know, Cap.

Why Captain America?

If you haven't heard, a film came out this week by a little-known company called Marvel, staring one Steve Rogers. He's not a mutant. He wasn't bitten by a radioactive spider. In fact, he doesn't have any powers what-so-ever! He's just an average guy, who wanted to do his part in the war... but couldn't. He was a runt; a weakling. This didn't stop him trying, however, and his determination caught the attention of a special program the military was running. Steve was chosen to become a Super Soldier, and so was born Captain America.

So what's so special about this guy? Well, when it comes to heroes, you don't get much more heroic than Steve Rogers. A defining trait of a hero is altruism, and Steve has that in spades. He is always willing to give himself up for his country and fellow man, no matter the cost. Oh, and did I mention he has a pretty kick-ass shield?

Before I let you go and get those creative juices flowing, however, there is one other thing I should mention. Being that we are tying this week's character to Captain America: The First Avenger, we feel that it's only fair that all pages should also be based in the setting of World War II. Enjoy!

Captain America created by Joe Simon and Jack Kirby