The Phantom - Mistakes - Simon McDonald

PANEL ONE

Arthur Dalley (new character) is driving his decade-old sedan, on his way to a job interview. He’s dressed for success: suit and tie, hair swept back, shaven; but there’s no hiding the skull mark on his chin; an eternal consequence of the Phantom’s form of vengeance.

CAPTION: I made a mistake, and was punished for it. I did my time.

CAPTION: I was determined to make something better of my life.



PANELS TWO, THREE & FOUR
(These panels are of equal size. Dalley appears progressively more dishevelled, and crushed, through each one, as he is rebuffed by three different employers)

PANEL TWO CAPTION: I tried.

PANEL THREE CAPTION: I tried, damn it.

PANEL FOUR CAPTION: But they can’t see past the mark.



PANEL FIVE
Dalley is sitting on the edge of his bed, dressed in shorts and a singlet, a multitude of beer bottles and liquor bottles dotted around his filthy room. He is holding a revolver, staring at it like it has all the answers he needs.

CAPTION: They can’t see past the mistake.



PANEL SIX
The Phantom is standing in Dalley’s room, looking down on Dalley’s body. Blood has pooled on the floor. The Phantom is holding Dalley’s suicide note.

CAPTION: Can you see past yours?

Why The Phantom?

I never loved The Phantom like I did Batman and Superman, but as a kid, sometimes all I had was $1.50 in my pocket, which wasn’t enough for a DC or Marvel Comic, but was just right for a 32-page black-and-white Frew comics starring Lee Falk’s Ghost Who Walks. Over time I amassed quite the collection; even as I got older, I’d occasionally flip through the comics; while the stories were never deep or complex, some of the artwork was fabulous. 

Kit Walker is the 21st in a line of crime fighters that originated way back in 1536. The original Phantom, Christopher Walker, swore an oath on the skull of his father’s murderer following a brutal pirate attack, and established the legacy that would be carried down for generations, bringing to fruition the notion of The Phantom being an immortal ghost – “the Ghost Who Walks.”

I’ve never been totally enamoured with the storytelling presented in The Phantom comics I’ve read, but have always felt the character has a ton of potential to be modernized; not re-imagined, but refreshed, to bring new eyes to the character. Dynamite Entertainment attempted a revival several years ago; now it’s our chance.

Velvet - A Long Line of Dead Men - Simon McDonald

PANEL ONE
We are in a lavish hotel room. Velvet Templeton is attaching a silencer to her handgun. In the background a slightly overweight man is seated smugly on the couch, cigarette dangling from the side of his mouth, seemingly unperturbed by Velvet's presence, or the gun. He's dressed in a suit, the jacket draped over the couch's arm. His name is Paul Lambert (new character, no reference).

CAPTION

London, 1948

LAMBERT

The Service is in disarray.

Sending a woman to do a man's job.

PANEL TWO
Silencer attached, the gun is now turned on Lambert. Velvet's reciprocating Lambert's smug smile.

VELVET

Oh, I don't work for Military Intelligence.

PANEL THREE

Lambert rolls his eyes, the weapon still aimed at his head.

LAMBERT

Be a dear and put the gun down.

You don't know what you're doing. 

The future you're staring at if you pull that trigger.

PANEL FOUR

On Velvet - no response.

PANEL FIVE

Lambert locks eyes with her, trying to talk his way out of this.

LAMBERT

Ask yourself if you're prepared for what comes next.

The first one is easy. But then there's the second. A third. More.

Are you honestly prepared for the long line of dead men who will haunt

your dreams?

PANEL SIX

On Velvet as she squeezes the trigger

SFX

SPUT!

VELVET

We'll see.

Why Velvet Templeton?

There is more to Velvet Templeton than meets the eye.

By day she works as the secretary to the Director of ARC-7, an elite covert operations organization. But in a previous life, Velvet was an operative of ARC-7, one of the best, until taking up her current role behind a desk.

In other words, Velvet is a badass Moneypenny, who wouldn't put up with James Bond's macho bullshit.

At time of writing, Ed Brubaker and Steve Epting's espionage series has just completed its first arc. It is absolutely fantastic, the kind of spy story I've been missing since Greg Rucka's Queen & Country was placed on perpetual hiatus.

I'm sure Velvet's world will prove a fun sandbox for our writers to play in.

Future Shock - X-Men: Days of Future Past - Simon McDonald

PANEL ONE
Present day Eva Bell - Tempus - is suffering from a nightmare, bathed in sweat. Her eyes crackle with temporal energy.

TEMPUS

Nnngh - -

 

 

PANEL TWO

Cut to the past, where Destiny has her crossbow aimed at Senator Kelly, as behind her, Tempus's temporal energy begin to flicker. Perhaps we can see a fraction of Kitty Pryde, hiding and watching the scene.

 

 

DESTINY

Do not try to evade my crossbow bold, Senator.

 

PANEL THREE

Destiny (who is blind, remember) seems to sense something, turns in the direction of Tempus' glowing ethereal form.

 

DESTINY

I will sense your plans a heartbeat before you even - -

Eh?!

 

PANEL FOUR

Kelly takes advantage of Destiny's distraction, lunges at the crossbow.

 

SENTATOR KELLY

I won't give you that satisfaction, witch!

 

PANEL FIVE

Pull back. Kitty Pryde comes out of hiding charging at the tussling Destiny and Kelly, while Tempus's temporal energy lights the scene in an eerie glow.

 

KITTY PRYDE

Senator, no!

 

SENATOR KELLY

Break your neck...

 

PANEL SIX

On Sentator Kelly's eyes, through his glasses, wide with shock.

 

SFX

Thuck!

 

SENATOR KELLY

(small)

Ah.



Why X-Men: Days Of Future Past

I hadn't read Days of Future Past until a couple years ago, when the film adaptation was announced. I'd read bits and pieces of the Claremont and Byrne run at that point, but honestly, I don't think that stuff has aged particularly well. Too much exposition, too many words cluttering the art. Sacrilege? Maybe.

Most surprising to me was that the storyline is so finite. Given its resonance in comics history, I'd figured Days of Future Past was a Stephen King Dark Tower-esque opus. But it's actually a tight three issue arc, taking place in the pages of Uncanny X-Men #141-142. In it, an adult Kitty Pryde transfers her mind to her younger self, and rallies the X-Men to prevent a fatal moment in history that will lead to a dystopian future founded on anti-mutant hysteria. High stakes stuff, huh?

Cut to 2014, and just a few days from now, we'll be watching Days of Future Past on the big screen. A very different version, sure, with Wolverine taking center stage - but with its core narrative seemingly intact.

This week, we're playing in the Days of Future Past sandbox. Utilizing characters from the original comics, or from the adaptation, the Thoughtballoons crew has the opportunity to play in one of the greatest X-Men sandboxes of all time.

See you on the other side.

4th Year Anniversary - Deniables - Simon McDonald

DENIABLES

ISSUE #1

 

Simon McDonald

 

 

 PAGE TWO

 

1.

An unmarked black government sedan is parked in an underground garage. It's very early in the morning and almost entirely empty. The car looks vulnerable, alone, neighboured by empty spots. The windows are tinted. We can't see inside, or maybe indistinguishable blurs, one in the backseat, another in the driver's.

 

CAPTION [1]

Gant had arrived early.

 

CAPTION [2]

Partly because of Brenner's concerns - an underground

warren of tight turns and few exits was a security nightmare.

 

CAPTION [3]

But mostly, it was because Gant wanted Willows meeting

him here. He wanted to set the agenda.

 

2.

Inside the sedan, tight on an expensive looking analogue wristwatch. The time is 03:18.

 

CAPTION

But Willows was late.

 

3.

Now on William Gant. A silver-haired politician. The kind of guy who can flash a warm smile for the cameras, but out of the spotlight, it turns malicious. His anger is etched on his face. He is not a man accustomed to waiting.

 

CAPTION

And not by a little.

A whole ninety-two minutes.

 

4.

Gant peers out the window, at the desolation. There is nobody there. Not a single hint of another human presence.

 

CAPTION [1]

He had just about eviscerated Gant's goodwill.

 

CAPTION [2]

He understood this was a darker world he was embracing.

That he was not yet cognizant of its rules.

But he expected a smidgen of professional courtesy.

 

CAPTION [3]

And William Gant refused to be treated like a fool.

 

5.

On Gant's phone, resting on the plush leather seats beside him, dark an inactive.

 

CAPTION

As far as he was concerned, that total lack of respect

was reason enough to call this whole thing - -

 

6.

Same as PANEL 5. Only now, the phone is glowing, the words UNKNOWN on its screen.

 

SFX
Deet!
Deet!

CAPTION

- - off?





Rhino - The First Crack - Simon McDonald

PANEL ONERhino slams his horn into the opaque wall of his high-tech prison cell. Outside of it, safe, a guard watches on, a smug smile plastered on his face.

RHINO

Grrraaaah!!

 

SFX

CRUNCH!

 

PANEL TWO

The guard guffaws as Rhino pants from his exertions, his face contorted by rage.

 

 

GUARD

You're as thick as your hide, aintch'a?

 

RHINO

Mention my wife again - -

 

PANEL THREE

Tight on the guard.

 

GUARD



Your wife makes me sick, you Goddamn freak.

Marrying an animal like you.

May she rot in hell for her sins.

 

PANEL FOUR

Rhino rams the wall again. Same result. Nothing. The guard already has his back turned, walking away.

 

SFX

Crack! 

 

RHINO

KILL YOU!

 

GUARD

Yeah?

How you gonna do that, huh?

 

PANEL FIVE

Rhino slumps to his knees, head resting against the wall. Exhausted. Defeated.

 

GUARD

(off panel)

I'm out here - -

 

PANEL SIX

Pull back. Rhino's lifted his head. On the wall, precisely where he smashed into it, is a tiny crack. Not much. But enough.

 

GUARD

(off panel)

- - and you're in there.

 



D4VE - G00D F04 N0THING ... M4Y8E S0M3THING - Simon McDonald

1.
FR4NK is sitting behind his desk at the Water-Power Plant, arms folded. FISH3R is behind him, standing, matching the aggressive pose. A scrawny robot is sitting on the other side of the desk, pensive. Clearly an outdated model. Rusted, chipped, in terrible condition. He doesn't have fingers; he has vacuums for hands.

FR4NK

- - checked your RAM, P4T, and I've got to say - -

FISH3R

It's terrible.

FR4NK

- - it's the worst. The absolute worst.

2.

On P4T.

P4T

Well, I - -

3.

FR4NK has his hand raised, silencing P4T, going for earnest, not quite able to pull it off

FR4NK

I mean, look, I appreciate your history.

Some bot's got to do the menial work, right?

Not your fault that's what you were programmed for.

4.

Tighter on FR4NK.

FR4NK

But my secretary - -

FISH3R

Executive secretary.

FR4NK

- - my executive secretary - - 

- - needs to at least seven upgrades higher than you.

FISH3R

At least.

5.

P4T is despondent. FR4NK seems to take pity on him.

FR4NK

Now, I may be heartless, but that doesn't mean I don't admire

sturdy programming and durability.

I think your specs are perfect for another role.

6.

Cut to D4V3's office. He's on a call. His thumb and pinkie are extended - mimicking a phone. P4T is behind him. Vacuuming, because that's all he can do, which is no help to anyone.

SFX

Vmmmmmmmmm

D4V3

- - no, that's not static, it's - -

- - my secretary, yes, he's a - -

- - no, he, uh - -

- - he won't stop.





Why D4VE?

D4VE is a series from Monkeybrain Comics, penned by Ryan Ferrier and illustrated by Valentin Ramon, about a former hero who used to fight monsters and aliens while protecting the planet, but having vanquished his enemies, now finds the monotony of everyday life grinding him down, stuck in a soul-sucking desk job as an account manager for the water power-plant, suffering through an epic mid-life crisis.

D4VE is a robot. Who lives on an Earth inhabited solely by robots. Because, seriously now, in the final confrontation between man and machine, flesh and bone loses every time. But with all his battles won, D4V3 is lost, pining over his glory days.

Based on the first two issues, D4VE may get the opportunity to live them. But not without dealing with the mess he’s made of his family and professional life.

Part action/adventure, part comedy, D4V3 is a brilliantly innovative sci-fi comic from two creators you should definitely keep an eye on. Let’s see if the Thoughtballooners can do their robot hero justice! 

Batmobile - The Wheelman - Simon McDonald

1.
Establishing shot of the Gotham City Bank. It's night. The street is all but empty; a single, sleek sports car is parked on the opposite side of the road. From this angle we can't see The Wheelman inside the car. (He is not actually there, but that shouldn't be displayed at this stage). The bank alarm is jangling. A robbery has just occurred.
 

Caption

Gotham. Zero Year.

 

Caption - The Wheelman [1]

There is one certainly in Gotham City.

 

Caption - The Wheelman [2]

Commit a crime, and he will come for you.

 

SFX

Clang-Clang-Clang-Clang-Clang!

2.
Three ski-masked men burst out from the bank, running for the car. They're carrying bulging duffel bags. A few banknotes flutter in the air as they sprint.

Caption - The Wheelman

Only way to survive in Gotham nowadays is to be fast.

3.
As the robbers reach the car, pulling open the doors, the Batmobile screeches to a halt behind them, headlights on, blinding them. Robber #3 is already in the car, is looking to the drivers seat, which is empty.

SFX

Screeeeeech!

 

Robber #1

Arrgh!

 

Robber #2

Oh God!

 

Robber #3

Drive, you idi - No!

 

Caption - The Wheelman

But nothing is as fast as his wheels.

4.
The Batman, ejected from the Batmobile, lands on top of the intended getaway car. Behind him, The Wheelman sneaks into view, making a beeline for the Batmobile.

SFX

Crunch!

 

Caption - The Wheelman

In my line of work, that's a bad thing.

 

5.
The Wheelman sits in the Batmobile's drivers seat. His eyes are wide, taking in the console, and the array of buttons. It is unlike anything he has ever seen.

Caption - The Wheelman

I need to be the fastest.

 

6.
The robbers are tied together with Batrope. They are unconscious. The Batman's head is turned, watching the Batmobile speed past him.

Caption - The Wheelman

Now I am.

Boomerang - Easy as Pie - Simon McDonald

Panel One
Inside the S.H.I.E.L.D helicarrier. Boomerang is wielding Captain America's iconic shield, surrounded by S.H.I.E.L.D. agents. He looks confident. He always does. Usually right before his plans fall apart.

CAPTION (1)

These guys, right?

 

CAPTION (2)

The worst.

Panel Two
Boomerang changes his stance, preparing to throw Cap's shield.

CAPTION (1)

But they're not going to stop me.

 

CAPTION (2)

This thing? Priceless.

 

CAPTION (3)

But, yes, I will be accepting offers.

Panel Three
The shield has been thrown, is cutting through a line of agents as it flies from his arm.

SFX (several)

Oof!

Argh!

Gah!

Argh!

 

CAPTION

Easy as pie.

Panel Four
From behind Boomerang's perspective. The shield is still going, knocking down agents, but it's a long way gone now.

CAPTION

Easy as...

Panel Five
It's now a speck. Boomerang's stance has changed. Dejected. It's not coming back. The S.H.I.E.L.D agents are getting back to their feet.

CAPTION

...

 

Panel Six

All the S.H.I.E.L.D. agents are standing again. Guns pointed at Boomerang. Chin down. Defeated.

 

CAPTION

(small)

... pie.

 

BOOMERANG

(small)

Dammit.

 

Why Boomerang?

Until The Superior Foes of Spider-Man - an awesome new Marvel series you should be reading if you like good, fun comics - the only Boomerang I knew from comics was a Captain and a member of the Flash's rogues gallery from the Distinguished Competition.

 

But 5 issues into Superior Foes, I absolutely adore him. Frank Myers has no super-powers - he's an average guy who has honed his natural abilities thanks to an early baseball career, which eventually spiralled into the world of super-villainy. 

 

The Superior Foes of Spider-Man paints Boomerang as the aspirational (but incompetent) leader of the Sinister Six. He wants to be a major player, but sheer ineptitude has, so far, limited his opportunity to fulfil that dream.

 

Who knows what awaits Boomerang in the hands of our Thoughtballoons tenures - or you, dear reader and comics scripter, who we welcome with open arms to submit a script below.



Malekith the Accursed - Entrapment - Simon McDonald

Panel One
Volstagg of the Warriors Three stands in front of Malekith's cell in the Asgard prison. Volstsagg is speaking boisterously, as he is prone to do, while Malekith is slumped against the rear wall. Grey particles drift inside the cell; specks of iron to deny his use of magic. Beyond Volstsagg and the cell we can see Thor approaching, Mjolnir in his hand, but held unthreateningly.

 

VOLSTAGG

- - a mighty battle, Malekith, one of the best - -

 

THOR

Taunting the imprisoned, Volstsgg?

 

Panel Two

Volstagg is smiling broadly. There is not a hint of guilt on his face as he leans in closer to the cell, inspecting the prisoner.

VOLSTAGG (1)

Ach, Thor, when the battle has been won, a warrior requires some form of entertainment.

 

VOLSTAGG (2)

And surely Malekith, of anyone, deserves derision.

 

Panel Three

On Thor now, scowling. A very un-Thor like expression.

 

THOR

Indeed?

 

Panel Four

On Volstagg as his eyes bulge.

 

SFX

SNIKT!

 

Panel Five

Pull back. "Thor" is shapeshifting into Malekith's form. "Mjolnir" is in fact a blade, now implanted in Volstagg's back, spread-eagled in front of the cell - now empty, the illusion evaporated.

 

THOR / MALEKITH

Then it's only right that you are my first.

The Shadow - The Darkness in Apartment 3C – Simon McDonald

PANEL ONE
An establishing shot of a New York apartment building. It's 1933, midday. The sun is beaming down on the six police cruisers parked out front. Uniformed cops are mulling about outside. There's a media presence, kept at bay by police tape.

 

CAPTION

The daylight means something.

 

PANEL TWODetective Lemonski - new character, don't go Googling - is trudging up the narrow staircase. Dressed like a 1930s cop would be. There're beads of sweat on his brow, a grimace on his face.

 

CAPTION (1)

I was thinkin' this before I knew the victim.

 

CAPTION (2)Don't get many calls durin' the day.
The scum saves its worst for when the lights're out.

 

PANEL THREE

Lemonski has reached the third floor. A door marked 3C is open. There's a cop presence up here too, all ashen faced.

 

CAPTION (1)

Lot of blue, so I know this is a cut above my usual fare.

 

CAPTION (2)

I'm thinkin' it's a city official. Maybe the mayor.

 

PANEL FOUR

Tight on Lemonski's face. Despite the murder scene and the sweat on his face, there's a hint of a smile.

 

CAPTION (1)

I'm thinkin' that wouldn't be so bad.

 

CAPTION (2)

A case t'make my name.

 

PANEL FIVE

Inside the apartment there are four corpses tied to chairs. They are all wearing The Shadow's iconic garb. And each has suffered a double-tap to the chest.

 

LEMONSKI

Aw Christ.

 

CAPTION (1)

Yeah.

 

CAPTION (2)

The mayor would've been better.

Arkham Asylum - The Joke's On You - Simon McDonald

There is on-going construction work at Arkham Asylum. Its inmates have been moved to various other facilities - The Riddler is secured behind bars in Stryker's Island, Clayface is being housed at Iron Heights Penitentiary. Scenes occurring at Arkham Asylum should feature background work detailing these renovations; piled rubble, machinery, and dozens of workers in dust-stained overalls and yellow hard hats looking busy. 

PANEL ONE
Inside Arkham Ayslum's subterranean wing - reserved for its most dangerous inmates we focus on an open cell door. It's THE JOKER'S cell. There are several workers standing outside it, visibly reluctant to set foot inside.

CAPTION (1)

I have always had the capacity for evil.

 

CAPTION (2)

I suppose we all do, to some degree.

 

PANEL TWO

Inside THE JOKER'S cell stands a lone construction worker. Non-descript, nobody we've ever seen before. His hands are clasped behind his back. He's examining the walls - covered with diagrams and scribbled text - with obvious reverence.

 

 

CAPTION (1)

Most folks don't have the balls to commit to their demons.

 

CAPTION (2)

Even more simply don't have the intellect for it.

 

CAPTION (3)

I sure didn't.

 

PANEL THREE

Tight on our protagonist. He is squinting now, deciphering the coded scrawl.

 

CAPTION (1)

So the day I decoded The Joker's scrawl - -  

 

CAPTION (2)

- - me, a nobody! - -

 

CAPTION (3)

- - that was no longer a concern.

 

PANEL FOUR

A smile has spread across his face. He's done it - he's seen through the crazy and made sense of it.

 

CAPTION

He'd done my thinking for me, the Clown Prince of Crime.

 

PANEL FIVE

In another place, location unknown (for the time being). It's suitably dark and decrepit. THE JOKER is cackling to himself, evil grin plastered on his face.

 

THE JOKER

HAHAHAHAHAHAHA!

 

CAPTION

How was I to know I'd played right into his hands?

Kate Bishop – The Final Test – Simon McDonald

PANEL ONE

Inside an interrogation cell –furnished by two chairs and a table, and a large one-way mirror - the villain CROSSFIRE looms over KATE BISHOP, battered and bruised. She looks like she has gone through hell. Her hands are fastened to the table, and in the gap between lies a single arrow – identifiable as one of Hawkeye’s because of the colour scheme. Her eyes are locked onto it.

 

CROSSFIRE

You’re not cut out for this, Kate.

You think it’s as easy as dressing up in spandex

and stealing another hero’s name?

 

PANEL TWO

Different angle, facing KATE now, and her eyes, unmoving, focused on that arrow. CROSSFIRE is enjoying this, a smile splayed across his face. He’s a master interrogator, after all. This is what he was trained to do.

 

KATE

When I kill you and steal yours I’ll prove it.

 

CROSSFIRE

Oh, Kate. Do you really mean that?

 

PANEL THREE

Cut to inside the interrogation room. We can only make out an older man’s mouth and the moustache across his lip. It’s THUNDERBOLD ROSS – but it should not be too obvious yet.

 

ROSS

You heard the man.

Let’s see if she’s ready.

 

PANEL FOUR

Back in the interrogation room, KATE’S clasps suddenly unfasten.

 

SFX

SNAK!

SNAK!

 

PANEL FIVE

The arrow on the table should be at the forefront of this panel. Beyond it, CROSSFIRE stands behind KATE, his back to her. He (seemingly) hasn’t recognized the danger. KATE’s eyes – still – remain on that arrow. But her expression has changed. It’s a hard stare. The stare of a person who has succumbed to savage instinct.

Agent Coulson – A Demonstration of Finesse – Simon McDonald

1.
Inside the S.H.I.E.L.D helicarrier, the villain Shotgun – clad in black-tights-and-body-armour onesie laden with pouches, and an assortment of high-tech weaponry holstered and slung across his body – is holding a gun to Maria Hill’s head as he screams at the observing crowd, which consists of a dozen (at least) uniformed S.H.I.E.L.D agents, all with their weapons raised. Most prominent amongst them is Agent Phil Coulson, dressed in his everyday suit and tie, hands in his pockets, epitomizing nonchalance.

SHOTGUN:  I told you - - I want Fury!!

COULSON (1):  You really don’t. Trust me.

COULSON (2): I work for the guy and even I don’t want to see him.

2.

Tight on Coulson, pointing at his forehead.

COULSON: See, Fury - - he’d have shot you by now, right between the eyes. He’s like that.

3.

Shotgun is sneering, the gun pressed firmly against the side of Maria Hill’s head. The S.H.I.E.L.D agent’s eyes are wide, but not fearful. She’s looking at Coulson expectantly. She knows he must have something up his sleeve. But although Coulson’s are now out of his pockets, they’re empty; his arms hang loosely by his side.

COULSON: Me, I’m tactful. I’m all about finesse.

SHOTGUN: Bravo. Your finesse just got your girl killed.

4.

Shotgun’s expression has twisted into disbelief as his handgun refuses to fire. A hint of a smile is on Maria Hill’s face. Coulson’s also enjoying himself.

SFX: Click! Click! Click!

SHOTGUN: The hell - - ?!

COULSON (1): Oh. Right. That would be the combustion nullification field*.

COULSON (2): C’mon, pal. We’re S.H.I.E.L.D. You really thought it'd be this easy?

5.

Coulson’s grin is smug. He’s looking admiringly at his fists.

COULSON: Now, about that finesse I was referring to...

*Real S.H.I.E.L.D. technology last seen in Punisher Vol. 9, #9.

RKL - With Friend's Like These - Simon McDonald

PANEL ONE

A twelve-year-old Simon is standing awkwardly in front of his class, blushing slightly, posed awkwardly. He doesn’t like the attention. Doesn’t like being in the limelight. It shows. Gawkiness radiates off him. He’s clasping a wiro-bound 100-plus paged booklet in his hands. We can just about read the text on its title page: DSA. The students watching Simon are sitting cross-legged. Some are attentive; most are busying themselves with more important matters; like staring at their fingers, or the carpet. The students of the crowd are unimpressed. The teacher is smiling patronisingly; he’s thinking Sure, Kid. Of course you are.

CAPTION: When Simon was twelve years old, he made an announcement to the world:

SIMON: I wanna be a writer.

CAPTION : It was not met with rapturous applause.

PANEL TWO

Impossibly, Simon is blushing even more. His grasp has tightened around his ‘novel.’ He’s trying – and failing miserably – to salvage his presentation.

SIMON: I, uh,  wrote this. Um … the Dependable Spy Agency.

SIMON: The DSA!

SIMON: Uh.

PANEL THREE

Similar panel to above, angled to view an older Simon, now a teenager, standing in front of his parents, another stapled document in his hands. Again, we can just about read the name of the novel: ‘Prey.’ Simon’s more confident now, compared to his younger self. His parents are smiling, warmly, but there is uncertainty in their eyes. They love Simon’s passion, but believe it should possibly be redirected into something else; something more tangible.

SIMON: - - not actually a monster, but something that escaped from captivity - -

SIMON: A lion!

CAPTION: He got used to it, over time.

CAPTION: The contemptuous smiles on the people he told.

CAPTION: The well-wishes from those who in actuality had no faith.

PANEL FOUR

Simon, older again, is sitting with RKL in a pub-setting. There are two pints on the table in front of them.  There is no disdain on Ryan’s face. He’s genuinely interested.

CAPTION: They say writing can be an isolating pastime and profession.

SIMON: - - about a House at the end of time.

SIMON: The House of Endtimes!

CAPTION: Simon didn’t know it could be different.

PANEL FIVE

On RKL, smiling amiably.

RKL: Cool.

CAPTION: But now that he knows it can be?

PANEL SIX

Simon, in the present day, sitting at his desk, clacking on his keyboard. The image of the original Thought-Balloons crew Danial illustrated years ago is prominent, stuck to the wall beside Simon so too an image of the ACT COMICS MEET ‘BEGINNINGS’ anthology cover. His face is contorted in concentration. He’s in the zone. This is bliss.

CAPTION: The writing's gotten easier.

CAPTION: And better.

Harry Osborn - Goblin Come Knockin' - Simon McDonald

PAGE 2

PANEL ONE

We're at Harry Osborn's cabin overlooking the Vermillion Lakes, Mt. Rundle looming overhead. It's a picturesque setting, early morning Winter sun piercing through a thin layer of cloud. Harry's come here to get away, to be alone and be one with nature, where the name Osborn carries no ominous overtone. At the forefront of this panel is Harry's dog, barking at something we're unable to perceive from this angle. In the background, approaching us from the cabin, comes Harry, rifle in hand, dressed for the weather.

DOG

Ruff! Ruff!

HARRY OSBORN

Swear to God, if this is another...

PANEL TWO

Tight panel of Harry's eyes, bulging wide.

HARRY OSBORN

What...

PANEL THREE

Largest panel on the page. Harry and his canine companion are looking down at a body, gutted savagely, blood pooled in the snow. It's a man, that's for certain, gauging by his gait and thick forearms and thighs, but we can't identify him because of the Green Goblin mask covering his face.

NO COPY