Easter Eggs!

[Dan Slott]

CONTENTS

Easter Eggs Pt.1: My Dead Punisher Story
(Scroll down)
Easter Eggs Pt.2: 5 Pages of Plot/5 Pages of Script (Or Writing Robin "Marvel Style")
http://www.606studios.com/bendisboar...34&postcount=7
Easter Eggs Pt.3: Pitching Springboards (And Dead Batman Beyond stuff)
http://www.606studios.com/bendisboar...=103020&page=2
Easter Eggs Pt.4: Plot for SHE-HULK Vol.1 #2
http://www.606studios.com/bendisboar...2&postcount=14
Easter Eggs Pt.5: My Eerie Speedball Prediction... Circa 1991
http://www.606studios.com/bendisboar...8&postcount=19


Hi!
I've gotten a number of requests for both sample scripts/plots AND for peeks at dead/killed projects. And who am I to say no to Jinxworld posters? So starting today I thought I'd show you some scripts/plots of stories that have already seen print...

...or in, this case, projects that have been bought, paid for, and killed. This happens a LOT in this industry. In the case of Acclaim Comics, I had HUNDREDS of pages of material in drawers-- all of it slated to come out... But then the company went through "restructuring period"... And "restructured" itself right out of existence. I probably won't be posting ANY of that material, since there are a number of concepts and ideas that I can still use in other media.

Then there are certain ideas/concepts/pitches that are dead-dead-dead. Most of these are stories that were done ages ago-- and while they languished out of sight-- someone else produced something that was either TOO similar to the concept or completely invalidated it. (Check out the photocopier scene in today's script. I wrote that back in '94 and I'd never seen ANYONE do that bit before. Since then, I've seen it done a ba-zillion times.)

In the case of this PUNISHER story: "Serious Business", this was produced for then Punisher Editor, Don Daley. It would have been my first full length, non-funny animal comic. It was penciled by Mike Harris and inked by Jimmy Palmiotti (the same team from my first Punisher short story). And it was slated to run in an issue of PUNISHER WAR JOURNAL. It was two or three months away from being solicited when Don Daley was let go from Marvel in the first editorial "purge" of the 90's.

When group editor, Bobbie Chase, inherited Don's backlog, she discovered that Don had acquired tens of thousands of dollars worth of Punisher inventory issues. The book could have run on automatic pilot for YEARS without missing shipping. (Which probably explains why the status quo stayed the same in Punisher books for over half a decade).

One of Bobbie's first acts as group editor was to take the hit and KILL all of Don's backlog. Which included my issue. Trust me, as much as I like the story, it was pretty hard to feel sorry for myself. It was a scary time. Along with the fact that there were dozens and dozens of other freelancers whose work was killed in that opening blast-- there were also a LOT of Marvel staffers that I really liked, like Don, who had just lost their JOBS during that wave of firings. To this day it's easy to keep that in perspective.

Anyway... Here's the full script (a rarity for me) for that issue. I hope you enjoy it! Please remember, this is one of my EARLIEST scripts so be gentle okay? And now, after a 13 year wait, here's PUNISHER WAR JOURNAL'S "SERIOUS BUSINESS"...


PUNISHER WAR JOURNAL
"SERIOUS BUSINESS"
PLOT for 20pgs.
DAN SLOTT
4/15/94

PAGE ONE
SPLASH
Thirty stories up in a Park Avenue hotel, the PUNISHER chases a YAKUZA bag man through billowing clouds of tear gas. With a gas mask on, the PUNISHER looks almost insect-like. The bag man, JIRO, wears a suitcase handcuffed to his wrist.
TITLE: SERIOUS BUSINESS
CAP: The Brentmore Arms, a five star hotel, that caters only to the biggest movers and shakers.
CAP: People like Jiro Watanabe, a Yakuza bag man, on his way to make an important drop.
CAP: Time to show him a service I extend to world weary travelers like himself:
CAP: Express checkout.

PAGE TWO
PANEL ONE
PUNISHER continues to gun down coughing thugs and body guards as he races through the corridors, never taking his eyes off the bag man ahead of him. Mounted to the ceiling is a security camera.
CAP: Got to hurry this up.
CAP: Sooner or later, either Jiro rabbits, one of his buddies gets in a lucky shot...

PANEL TWO
On a higher floor, the YAKUZA head watches the PUNISHER'S rampage on surveillance cameras.
CAP: ...or they send in "the calvary."
LEADER: <He is four floors below on 30.>
CAP: Translated from Japanese.

PANEL THREE
The YAKUZA leader orders some of his men to take out THE PUNISHER from the outside. His troops are modern day ninjas, armed with laser sighted ordnance. (MIKE-- let's not make these big, red-hooded typical comicbook ninjas, but rather state of the art professionals, sleek and hi-tech).
LEADER: <Take out everyone on the floor if you have to.>
LEADER: <He is not to leave the building alive.>

PANEL FOUR
They begin to repel from the outside of the building.
TEXT: HUT HUT HUT HUT HUT

PAGE THREE
PANEL ONE
Meanwhile, PUNISHER has taken down JIRO with some crippling leg shots.
CAP: Finally!

PANEL TWO
He searches JIRO'S flailing body for a key to the suitcase handcuffed to his arm, but to no avail.
PUNISHER: The key! Give me the key!
JIRO: AIIIIII!
CAP: Don't have time for this @#*!

PANEL THREE
Quick cut to the repelling ninjas.
TEXT: HUT HUT HUT HUT

PANEL FOUR
Back to the PUNISHER. He blows the suit case open....
CAP: This better be worth it!

PANEL FIVE
...and there's his prize: a lone computer cd.
CAP: Bingo!
CAP: The Yakuza's "books"! 64 megabytes of all their dirty dealings all down loaded onto one CD-ROM.

PAGE FOUR
PANEL ONE
Suddenly, all around him, the YAKUZA's shock troop burst through every available window.
SFX: KRAAAASHHH!

PANEL TWO
They land on their feet, laser sightings on and primed.

PANEL THREE
BIG PANEL. We see a reaction shot of THE PUNISHER, he's covered head to toe in "red dots."
PUNISHER: @#*!

PAGE FIVE
PANEL ONE
PUNISHER runs down the hallway, taking fire left and right. The air is filled with big HOWARD CHAYKIN-ish sound effects.
CAP: Four yards from the planned exit...

PANEL TWO
He makes a wild dive, and disappears down a laundry chute.
CAP: ...thirty stories to the basement floor...

PANEL THREE
He falls down 30 floors of chute, bumping, slamming, and sliding the whole way.
PUNISHER: @#*!
PUNISHER: @#*!
PUNISHER: @#*!

PANEL FOUR
He lands in a laundry basket on the basement level. All the white sheets around him bleed to red.
SFX: WUMPH!
PUNISHER: ...and knee-deep in the sheets.

PAGE SIX
PANEL ONE
MICRO is there, dressed as someone from the laundry service. He leans in, looking down at FRANK.
MICRO: Bleedin' on the linnens again, Frank.
MICRO: You know how hard it is to get that stuff out?
PANEL TWO
MICRO wheels the basket into the back of a waiting laundry truck...
MICRO: Maybe a good pre-soak. Who knows?

PANEL THREE
...then hops into the front seat.
MICRO: Lucky for you, Frank...

PANEL FOUR
CUT to his foot hitting the gas pedal.
MICRO: Getting things out is my specialty.

PANEL FIVE
The truck bursts through the hotel's security gates and screeches off towards one of the PUNISHER'S safe houses.

PAGE SEVEN
PANEL ONE
At the safe house, PUNISHER peels off his kevlar. It's riddled with slugs, and he's riddled with bruises.
CAP: Later, at the safe house.
PUNISHER: (eyeing the kevlar) Micro, easy on the starch next time!

PANEL TWO
MICRO, though at his computers, is still in his laundry uniform. He�s lit by the computers green light. Columns of numbers are reflected in the planes of his glasses.
MICRO: You should take laundry more seriously, Frank.
MICRO: It looks like the YAKUZA do.

PANEL THREE
This has the PUNISHER'S attention. They've been trying to find the YAKUZA'S money laundering connection for a dog's age. MICRO shows FRANK the info he's dug up from the CD.
PUNISHER: It's there?
PUNISHER: Tell me you've got the name of the Yakuza's money launderer.
MICRO: OMNI-MART. American owned supermarket chain. Their organization circulates billions of dollars on a monthly basis.

PANEL FOUR
PUNISHER: I say we blow up the corporate HQ.
MICRO: That shouldn't be necessary, Frank.
MICRO: After all you own a controlling share in their stock.

PANEL FIVE
CLOSE UP on THE PUNISHER'S confused and shocked face.
PUNISHER: What the @#*?!"

PAGE EIGHT
PANEL ONE
MICRO explains.
MICRO: Over the years I've shrewdly invested money from the warchest into some big business ventures.

PANEL TWO
He gestures around to all the equipment in the warehouse. We see the vast scope of all the equipment THE PUNISHER uses.
MICRO: You don't think we could afford all this with just the money you've managed to steal from the mob, do you?

PANEL THREE
PUNISHER still wants to take them down hard and fast, with force and firepower.
PUNISHER: Look, Micro, I don't care. Just give me a gun and point me in the right direction.
MICRO: Frank, there's no need for all of that.
MICRO: Really. Trust me.

PANEL FOUR
ESTABLISHING SHOT of OMNI-MART corporate headquarters in midtown Manhattan. It's a tall gleaming building with a statue of the company logo standing proudly in the outdoor plaza.
CAP: "Just attend the next shareholders meeting, exercise your options..."
CAP: "And you'll take 'em all down, without firing a single shot."

PANEL FIVE
CUT to the OMNI-MART corporate boardroom, the PUNISHER shows up clean shaven, suit, tie, and Punisher-skull cuff-links. With his index finger he tugs his collar away from his neck.
CAP: This is stupid.

PAGE NINE
PANEL ONE
THE PUNISHER feels ridiculous. At a long conference table, everyone at the meeting waits for their new, mysterious, majority shareholder to talk. He begins to read from note-cards MICRO has prepared for him.
CAP: Much rather blow them all away, instead I'm drinking Bavarian Mocha with them!
FRANK: Gentlemen, I'm sure most of you are surprised to discover you have a majority stockholder...
FRANK: ...as I have gathered my holdings through numerous companies and second parties.

PANEL TWO
Over the shoulder shot. We see FRANK fumbling through the cards.
FRANK: But no more shocked than I am, at OMNI-MART'S lackluster performance of late...
FRANK: ...in the market place.
CARD (typeset): BUT NO MORE SHOCKED THAN I AM, AT OMNI-MART'S LACKLUSTER PERFORMANCE OF LATE, IN THE MARKET PLACE.
CARD (handwritten note): --having fun yet, Frank? --M.C.
CAP: I'll get you for this, Micro.

PANEL THREE
FRANK: That is why I am sad to announce, that I will be selling my shares...
FRANK: ...to our note-worthy competitor, PATHWAY INC.

PANEL FOUR
The board members are aghast. One spit-takes with his Bavarian Mocha.
CAP: According to MICRO, if PATHWAY has controlling shares...
CAP: They'll replace all the OMNI-MART board members with their own suits...

PANEL FIVE
CLOSE UP on GARDNER NASH, chairman of the board, an old, but stocky man, an impressive power figure. He keeps his best poker face as he ponders not only the collapse of his power structure, but also the YAKUZA'S reactions.
CAP: Doubt the YAKUZA will be happy about that.

PAGE TEN
PANEL ONE
NASH takes FRANK aside and tells him of a complication. He can't exercise that particular option at this point in time. FRANK looks at him suspiciously... MICRO didn't mention anything about this...
NASH: Look, it's well within your rights to make this decision.
NASH: But I must invoke the rules of the company charter...

PANEL TWO
NASH firmly holds FRANK on the shoulder. FRANK would much rather shoot him than have to talk with him.
NASH: ...when you took on enough stock to become the majority shareholder,
NASH: you signed a clause allowing us to convene an emergency meeting of the board--
NASH: A chance to woo you back to the OMNI-MART way of thinking.

PANEL THREE
NASH: This weekend we'll hold a retreat in one of the corporate owned lodges out in the country.
NASH: If we can't convince you by the start of the working day Monday.
NASH: Then for all means, continue with your current course of action.

PANEL FOUR
As FRANK takes his briefcase and heads out, NASH pulls one of his VPs over, PETE GROSSMAN, a clean-cut, healthy looking yuppie, the up and comer you'd find driving home the winning run at the company softball game.
NASH: Looks like were going to be having an emergency retreat in the country this weekend...
GROSSMAN: And let me guess, you want me to keep a close eye on our majority shareholder?

PANEL FIVE
NASH: Of course, make sure he doesn't have any accidents...
GROSSMAN: Like Jensen had on that white water rafting trip... Or Davis on the rock-climbing jaunt in Yosemite.

PANEL SIX
GROSSMAN sighs.
GROSSMAN: The mortality rate at this company...
GROSSMAN: You know it's going to send our insurance premiums through the roof.
NASH: Lighten up. We're making a killing.
NASH: 'Thought this year we could go... duck hunting.

PAGE ELEVEN
PANEL ONE
CUT to the duck pond near the retreat, the sun's just coming up. Those annoying little bugs, midges, are all catching the sunlight. GROSSMAN, in duck hunting gear is loading up his shotgun. He talks to his one of his cronies.
GROSSMAN: After our little mishap, I'll stay with the body�doing everything in my power to try to "save" him.
GROSSMAN: You go with some of the boys to get help.

PANEL TWO
GROSSMAN: Be sure to get Sheriff Roberts. He's the one we've made "special arrangements" with.
CRONY: God I hate this crap.
CRONY: It's gonna blow the whole weekend.

PANEL THREE
They spot the PUNISHER sitting in his duck blind.
GROSSMAN: Trust me. You'll be home in time to catch all the sports highlights...
GROSSMAN: There he is, just where we left him....

PANEL FOUR
GROSSMAN takes aim...

PANEL FIVE
...and blows the PUNISHER away.

PAGE TWELVE
PANEL ONE
...But it's not really FRANK, just his hunting jacket, hat, and rifle, propped up in a makeshift scarecrow.
GROSSMAN: Huh?
GROSSMAN: It was just some kind of...

PANEL TWO
He sees a duck decoy hanging from a tree. In its beak is a folded note, on the outside it reads "HEY!"
GROSSMAN: ...decoy?

PANEL THREE
GROSSMAN pulls the decoy down, snapping the wire. He holds the note, now unfolded in his hand.
NOTE: DUCK (A crude PUNISHER SKULL is also scrawled over the unfolded note.)

PANEL FOUR
Suddenly, a tree-branch loaded with spiked stick, swings around and gores both GROSSMAN and his buddy. Their eyes are wide open. It's obvious that they're both still alive.
SFX: SKRUNCHHH

PAGE THIRTEEN
PANEL ONE
BIRD'S EYE VIEW looking down from the branches of the trees around the duck pond. Two other members of the board are walking around with their shotguns at the ready. Suddenly, they hear GROSSMAN and his buddy's death screams.
TEXT: AAAAHHHHHHH

PANEL TWO
They start heading in that direction.
GUY #1: Was that it?
GUY #2: I didn't hear a shot...

PANEL THREE
As they make their way across the forest floor, crunching through leaves and sticks, we can see a figure following them high above in the canopy of the trees' branches.
GUY #1: It was over this way...

PANEL FOUR
It's the PUNISHER, decked out in a makeshift mud/camo-paint. (MIKE-- feel free to put a makeshift skull emblem on his chest.)

PAGE FOURTEEN
PANEL ONE
Outside the woods, the remaining board members drink thermoses of coffee on the hoods of their trendy jeeps. They hear some screams coming from the forest.
GUY #3: Something must've gone wrong...
GUY #4: You don't think...
GUY #5: Oh come, he's just one guy.

PANEL TWO
One of them opens up a trunk at pulls out a bunch of semi-automatics assault rifles.
GUY #5: Here. Now, if something's the matter, I'm sure we can sort it all out.
GUY #3: Where'd you get a hold of these?
GUY #5: Hey there perfectly legal. I use 'em only for hunting.

PANEL THREE
They walk into the forest.
GUY #4: Wonder if he's still alive.
GUY #5: Half hope he is...
SFX: CLIK-ECHH (GUY #5 locks and loads the gun)
GUY #5: It'll be a slaughter.

PANEL FOUR
Long shot of the woods. It's dead silent.

PANEL FIVE
Suddenly, there are burst of gunfire. From everywhere ducks fly out of the brush...

PANEL SIX
The ducks disperse. And silence returns.

PAGE FIFTEEN
PANEL ONE
Monday morning. FRANK, in the business suit again, stands across from NASH, the long boardroom table in between them. No other board members have shown up... as they're all dead.
FRANK: Well, I've had some time to think about it...
FRANK: My fellow board members made some convincing arguments this weekend...
FRANK: A number of power plays...
FRANK: But nothing I couldn't fill with a lot of holes.
PANEL TWO
FRANK: I've decided to follow through with my original plan of action.
NASH: No. I don't think so.

PANEL THREE
NASH pushes a button. A sliding panel opens, revealing the YAKUZA head and his shock troop.

PANEL FOUR
Reaction shot of THE PUNISHER. His face has that "I told you so look."
PUNISHER: Damn.
CAP: Knew I should've nuked this place! But no!
CAP: "Trust me." Micro said. Thanks a lot, pal!

PAGE SIXTEEN
PANEL ONE
PUNISHER jumps for cover, going straight through the meeting room window...
SFX: KASSSHHHH
CAP: Definitely the last time I take my business here!

PANEL TWO
...and into the office area in the next room. A hail of gunfire follows behind him. Office workers duck and scatter. (IMPORTANT-- in the office area we set up all of the weapons the PUNISHER will use in PAGES SEVENTEEN and EIGHTEEN. For example, one of the workers who ducks is pouring piping hot coffee into his "World's Greatest Dad" cup.).
CAP: Don't they know this is no way to treat a majority shareholder?

PANEL THREE
FRANK lands and pulls the handle out of his suitcase.
CAP: They should realize...

PANEL FOUR
The handle's a concealed weapon. When it retracts from the suitcase, we can see that there's a long blade on either side.
SFX: SHKKKT

PANEL FIVE
He sinks it deep into the first ninja to reach him. SPLUTCHHH!
CAP: ...I've got leverage.

PAGE SEVENTEEN
What follows is a whirlwind of action as the PUNISHER flows from panel to panel dispatching all the ninjas with items from around the office work area, while dodging hails of gunfire.
PANEL ONE
He pushes the next ninja aside, impaling him on a memo-spindle.
PUNISHER: Take a memo.
PUNISHER: Re: accidents in the work place.

PANEL TWO
The next ninja is shoved backwards. An open file catches him behind the knee, resulting in his head falling back into a file as well.
PUNISHER: Or on second thought...

PANEL THREE
Before the ninja can react, THE PUNISHER slams the top file shut, snapping his neck.
PUNISHER: ...let's file that for later...
SFX: RRRRUNCH

PANEL FOUR
PUNISHER then grabs a steaming mug of coffee (World's Greatest Dad), and tosses it into the second to last ninja's face!
PUNISHER: ...and break for coffee!
NINJA: EEIIIIYEEE!

PANEL FIVE
Finally the PUNISHER'S luck runs out. The last ninja (the YAKUZA head from PAGE TWO) grabs him, and...

PAGE EIGHTEEN
PANEL ONE
...throws THE PUNISHER back onto the top of an open Xerox machine, his gun rammed under the PUNISHER'S chin.

PANEL TWO
Quick cut to PUNISHER'S hand as it slams down on the Xerox machine's big, green starter button.
CAP: Wonder how they'll write this up?

PANEL THREE
"AHHH!" The ninja recoils as the light from the Xerox blinds him. PUNISHER grabs the back of his head...
CAP: Work related death...

PANEL FOUR
And repeatedly smashes it over and over into the copier's glass.
CAP: ...copycat murder...

PANEL FIVE
Last shot: A series of photo-copies of the ninja's face, getting more and bashed, and the glass getting bloodier and bloodier.
CAP: ...or multiple homicide?

PAGE NINETEEN
PANEL ONE
CUT to NASH, cowering under his desk.
PUNISHER'S VOICE: I've recently met with my financial consultant...

PANEL TWO
PUNISHER pulls him out from under the desk....
PUNISHER: He told me I have the option of throwing out the chairman of the board...

PANEL THREE
PUNISHER hefts NASH up above his head.
NASH: Wh-what are you doing?
PUNISHER: Exercising my option.

PANEL FOUR
PUNISHER tosses NASH through a window, already weakened by bullet holes.
NASH: Noo!

PANEL FIVE
PUNISHER leans out the window and watches.
CAP: That's the problem with big business.
CAP: One day you're on top of the world... Next you're at rock bottom.

PAGE TWENTY
PANEL ONE
ESTABLISHING SHOT. As police and emergency vehicles circle the building, the PUNISHER and other OMNI-MART employees exit out the main entrance. FRANK'S the calm one. The police try to hold them all back, but it's no use.

PANEL TWO
A policeman stops him.
COP: Hey Mac, what's going on? We've had reports of gunfire, ninjas, you name it!

PANEL THREE
THE PUNISHER looks nonchalant as he straightens his tie.
PUNISHER: Don't look at me...

PANEL FOUR
Briefcase in hand, PUNISHER walks off into the distance.
PUNISHER: ...I just work here.
THE END!

[Dingo]

Some of your dialogue was a bit more stilted back then, and it appears you paid a bit less attention to detail then too. Ninja's wouldn't go "hut, hut, hut" would they? Is download the correct term for a CD ROM?

Other than that it was great!

The plotting was just as good as anything you do now. It appears slightly more geared toward cool story/visual moments, but that is not necesarily a bad thing. The humour was corny, but consistently so. Consistent corn is OK.

I have to ask though, I have heard this story of the dead Punisher work before, but how the hell can you get that much inventory issues without somebody noticing? Probably a big hint why Marvel went through financial trouble.

Also, why just scrap the lot? Surely there could have been some good stuff in there. Aside from this, I mean.

[Dingo]

Oh, and, THANKS DAN!

That was really cool of you to do that for us.

[John Drake]

Cool, I'll get to reading it later today. That's so cool of you.

[beta-ray]

Though I agree with the critique of the minutae ("hut hut hut" mainly), I can't complain about much else. Exciting read.

[Patrick King]

That sounds like it would have been hella awesome to read in finished form. Some of those lines were really funny, in a gruesome Punisher-ish way, especially the office slaughter. Makes me want to actually draw some of it out!

[Dan Slott]

I've been getting some questions about the differences between PLOT and SCRIPT. That's fair. The easiest answer: A plot describes everything that happens in the story-- everything the artist needs to draw. A script features all the dialogue and text that goes into a story-- everything the letterer needs to letter.

Writing plot then script is usually referred to as "Marvel Style"-- though that's probably more true of the way things were done back in the 60', 70's, and 80's. Nowadays, everyone writes full script... except for dinosaurs like myself.

Why do I work this way? I think you get a better finished product-- that's just my personal take. A plot, imo, gives an artist more freedom to express themselves. And a script that's done after the art's in can take different beats into account-- things that the artist has brought to the piece-- expressions on characters faces, reaction shots, and so on.

So, for the curious among you, here's the plot and the script for my 5 page backup from BATMAN ADVENTURES #12...

BATMAN ADVENTURES #12
"The Hidden Display"
(Vouchered as "The Duo Dynamic")
PLOT for 5pgs.
DAN SLOTT
12/5/03
1st REVISION
12/11/03

Rick,
The first two and a half pages of this story take place during the time when DICK GRAYSON had JUST become ROBIN. In DC Animated continuity this would set the story a few months AFTER the flashback sequence in the BTAS episodes "ROBIN'S RECKONING Pt.1 & Pt.2". Please refer to these episodes for the style guides for YOUNG DICK GRAYSON, ALFRED, and BATMAN (no bat frills on the gloves, no yellow oval, and a very stylized bat emblem--different from the one we're currently using). If you don't have a copy, I've got them on tape.
These episodes never establish ROBIN'S first costume or the Batmobile of that era. So let's have fun! I say we go for the CLASSIC ROBIN visual-- a completely yellow cape, green trunks, and green pixie boots. And how about the ol' big-finned, bat-headed Batmobile from the Dick Sprang era? Wouldn't that be a kick? (For the sake of DC Animated continuity buffs, we could always point out that THAT version of the Batmobile can be seen-- retired in the Batcave during one of the BATMAN BEYOND episodes. But now I'm just showing off my inner-geek. And for that, I'm very sorry.)

PAGE ONE
PANEL ONE (please leave room in the upper left for captions)
In voice over, DICK tells the reader about one of his earliest adventures as ROBIN. He and BATMAN had just defeated a mad scientist's GIANT ROBOT DINOSAUR. Robin had been a good soldier through out the entire ordeal, following Batman's lead the entire time. But with the case drawing to a close and the danger clearly over, he broke rank and made a request:
"Can we keep it?" the Boy Wonder asked Batman while standing on top of the toppled (and still smoking) dino-bot.

PANEL TWO
"No." BATMAN tells him, and motions for him to get into the BATMOBILE.
"We could keep it in the cave--" ROBIN protests.
"Transporting something that large would draw undo attention and jeopardize our secret identities."
"But--"
"We'll talk about it at home."

PANEL THREE
ROBIN sits in the BATMOBILE as BATMAN closes the passenger side door, locking him in. From ROBIN'S P.O.V. we can see his own reflection in the passenger side window. He's feeling a little down.
In a caption box, DICK tells us that they never did talk about it at home. That's just something grown ups say.

PANEL FOUR
SILENT PANEL. The BATMOBILE drives away from the toppled dinosaur and away from the readers. In the rear window, ROBIN looks back longingly at the fallen robot.
Please leave room for the title, "THE HIDDEN DISPLAY," and the credits.

PAGE TWO
PANEL ONE
LATER in the DINING ROOM of WAYNE MANOR...
DICK gets up from the table and asks if he can be excused. The food on his plate is mostly uneaten.
BRUCE reminds him that he's going to start training him in the art of Tae Kwan Do first thing in the morning.
ALFRED watches on.

PANEL TWO
SILENT PANEL as ALFRED watches DICK leave the room.

PANEL THREE
ALFRED has a word with BRUCE. He was cleaning MASTER DICK'S room and he noticed that all of his circus posters had been removed.
BRUCE tells him that it was decided that when DICK became ROBIN it would be in their best interest that people weren't reminded that BRUCE WAYNE'S ward was an accomplished acrobat.

PANEL FOUR
ALFRED tells BRUCE that seems quite a big sacrifice. BRUCE reminds ALFRED that it was no more a sacrifice than he made when he was DICK'S age. In order to become BATMAN, BRUCE WAYNE couldn't accept trophies, couldn't let the world know of his accomplishments.

PANEL FIVE
Outside the dining room, DICK has suspended himself off the railings of an overhead balcony-- as if he were on a trapeze. He eavesdrops on the two adults, listening through the crack over the dining room door.
From inside we hear ALFRED tell BRUCE that DICK is different. He grew up in a world of spotlights and applause.
"He's not you, sir" ALFRED tells him, "He needs to shine."

PANEL SIX
Back inside the dining room, ALFRED wraps up his case.
"And maybe," ALFRED tells BRUCE, "if he can not share his accomplishments with the world, maybe it would be enough if he shared them with us."

PAGE THREE
PANEL ONE
SILENT PANEL, In his ROBIN costume, DICK starts heading down the stairs of the BATCAVE.
In a caption box, DICK tells us that they never did talk about the DINOSAUR again...

PANEL TWO
...it was just there the next morning. Like magic. Like finding a present on Christmas morning.
To his shock ROBIN looks up to see THE GIANT ROBOT DINOSAUR standing there. (RICK, you don't have to show us the WHOLE DINOSAUR in this panel, just one of its arms-- or its lower jaw-- poking into frame.)
BATMAN is there. He tells ROBIN he's late. They should get started.

PANELS THREE, FOUR, and FIVE
Rick, all three of these panels link up to become a vista of the TROPHY AREA of the BATCAVE, but each panel progresses in time. As the panels progress, DICK narrates how over the years they continued to collect the trophies. And memories.
In PANEL THREE, BATMAN begins to train YOUNG DICK GRAYSON/ROBIN in the art of Tae Kwan Do. Behind them the TROPHY AREA of the BATCAVE is completely barren, except for the GIANT ROBOT DINOSAUR.
In PANEL FOUR, BATMAN and ROBIN (circa BATMAN AND ROBIN ADVENTURES-- BATS w/ yellow oval and ROBIN in his college years) continue to spar. Behind them we can see THE GIANT PENNY and THE GIANT PLAYING CARD.
In PANEL FIVE, modern day BATGIRL and ROBIN are sparring. Behind them we can see even more trophies AND the original ROBIN COSTUME in a display case. ALFRED is there, he tells BATGIRL and ROBIN that they'll have to wrap things up if they don't want to miss saying goodbye to Master Dick.

PAGE FOUR
PANEL ONE
In caption boxes, DICK tells us that eventually a day came when he had to move on from GOTHAM, stop living in BATMAN'S shadow, and set up shop in his own city.
We cut to TIM, BARBARA, and ALFRED seeing DICK off at the BUS STATION. A bus is nearby, we can read the name "BLUDHAVEN" in its destination marker above its windscreen. DICK has a duffel bag thrown over his shoulder.

PANEL TWO
ALFRED puts a hand on DICK'S shoulder. He apologizes for MASTER BRUCE not being there.
"I figured as much," DICK tells him, "Someone has to watch over the city tonight."
"I knew you would understand," ALFRED tells him, "Take care, boy. Take care."

PANEL THREE
In a MATCH SHOT of PAGE ONE/PANEL THREE, DICK rides inside the bus. His despondent face is reflected in the glass.

PANEL FOUR
CUT to the end of DICK'S first big adventure in BLUDHAVEN as NIGHTWING.
He's just captured KILLER MOTH (a bat-villain we've yet to see in the Adventures verse). Mere seconds ago NIGHTWING trapped KILLER MOTH with his own cocoon gun. The MOTH is stuck to one of the banners on top of the BLUDHAVEN MUSEUM OF HISTORY.
In one hand NIGHTWING twirls the cocoon gun, like a wild-west cowboy. In his other hand he holds some rolled up tapestries. He tells KILLER MOTH that the museum will be happy to know that their silk tapestries are safe.

PANEL FIVE
As NIGHTWING glides away, the trussed up KILLER MOTH yells after him. He wants to know where NIGHTWING'S taking his cocoon gun! That thing cost him two grand to build!

PAGE FIVE
PANEL ONE
With the cocoon gun still in hand, NIGHTWING glides to his new HQ. It's the exact OPPOSITE of the BATCAVE. Where THAT was a sunken underground HQ, THIS is something way above ground, looking out over the city-- NIGHTWING'S AERIE.
What this is exactly is up to you, Rick. But it should work within the confines of Ty's lead story. Here's a few suggestions/ideas: an old water tower, a stilt house hanging off the side of a mountain, an observation deck from a rundown carnival.

PANEL TWO
NIGHTWING opens a hatch on the roof of his new HQ and lowers himself inside.

PANEL THREE
To his surprise THE GIANT DINOSAUR is there in the middle of his HQ. There's a note attached to it-- a note signed with a "bat."

PANEL FOUR
We see a close up of the note in NIGHTWING'S hands. The note tells him that this is just to get him started. Batman's keeping the rest of the trophies, he'll have to get some more of his own.

PANEL FIVE
CLOSE UP on a bemused NIGHTWING brandishing the cocoon gun.
"Way ahead of you, Bruce," he says aloud. And then pauses to wonder-- just how did Batman get that dinosaur all the way up HERE?!
THE END, CHUM.

BATMAN ADVENTURES #12
"The Hidden Display"
(Vouchered as "The Duo Dynamic")
SCRIPT for 5pgs.
DAN SLOTT
12/31/03

PAGE ONE
PANEL ONE
1 DICK/CAP: It was one of my first outings as Robin, the Boy Wonder.
2 DICK/CAP: Batman and I had just defeated a Robot Dinosaur, and there was only one thought on my mind...
3 ROBIN: Can we keep it?
4 BATMAN: NO.

PANEL TWO
5 ROBIN: C'mon, it'd be GREAT. We could keep it in the cave and--
6 BATMAN: I said "NO." Transporting something that large would risk undo attention.
7 BATMAN: To the Batmobile. Now.

PANEL THREE
8 ROBIN: But--
9 BATMAN: We'll talk about it at HOME.

PANEL FOUR
10 TITLE: THE HIDDEN DISPLAY
11 CREDITS

PAGE TWO
PANEL ONE
1 DICK/CAP: We never did talk about it at home. That's just something grown ups say.
2 DICK: May I be excused?
3 BRUCE: All right. But straight to bed.
4 BRUCE: Tomorrow we begin your training in Tae Kwan Do.

PANEL TWO
(Please place this balloon in the lower part of the panel).
5 ALFRED: May I have a word with you, sir?

PANEL THREE
6 ALFRED: While cleaning Master Dick's room, I noticed that all of his Circus Posters had been removed.
7 BRUCE: Yes, Alfred. When he decided to become Robin...

PANEL FOUR
8 BRUCE: ...we agreed it would best not to REMIND people that Bruce Wayne's ward was a trained acrobat.
9 ALFRED: Understandable. But still a LARGE sacrifice none the less.
10 BRUCE: No more than I made when I was Dick's age.

PANEL FIVE
11 ALFRED: I remember. In order to maintain your "secret life," you NEVER kept any trophies. Never let others know of your achievements.
12 ALFRED: But Master Dick is DIFFERENT, sir. He grew up in the spotlight of the center ring.
13 ALFRED: He's not you, sir. He needs to SHINE. And maybe...

PANEL SIX
14 ALFRED: If he can no longer share his accomplishments with the WORLD...
15 ALFRED: ...maybe it would be enough if he shared them with US.


PAGE THREE
PANEL ONE
1 DICK/CAP: We never did speak of the Robot Dinosaur again.

PANEL TWO
2 DICK/CAP: We didn't have to.

PANEL THREE
3 ROBIN: Holy--
4 DICK/CAP: It was just there the next morning. Like magic. Like finding a present under the tree on Christmas morning.
5 BATMAN: You're late. Let's get started. We'll begin with defensive postures.
6 BATMAN: Attack me.

PANEL FOUR
7 DICK/CAP: We always referred to that part of the cave as the Trophy Room.
8 DICK/CAP: But the truth of it was--
9 DICK/CAP: --it was MY Trophy Room.

PANEL FIVE
10 DICK/CAP: At first. Over the years, it became a testament to our victories.

PANEL SIX
11 DICK/CAP: And to our legacy.
12 ALFRED: Master Tim, Miss Gordon. It's time.

PAGE FOUR
PANEL ONE
1 SIGN: TRANSIT AUTHORITY
2 SIGN ON SIDE OF BUS: GOTHAM BUS LINES ("BUS" on the raised door, "GOTHAM" partly obscured).
3 SIGN ON FRONT OF BUS: BLUDHAVEN
4 ALFRED: Are you sure about this, Master Dick? Bludhaven?
5 DICK: I think Gotham's in safe hands. We're practically tripping over each other as it is.
6 DICK: Time I found my own place and get out from under Bruce's shadow.
7 DICK: Speaking of which...

PANEL TWO
7 AFLRED: I'm sure he wishes he could be here but--
8 DICK: Someone has to watch over the city, right?
9 ALFRED: I knew you would understand. Take care, boy.

PANEL THREE
SILENT

PANEL FOUR
10 DICK/CAP: Doesn't take long. First night on the town and I've already nabbed my first bad guy...
11 NIGHTWING: Don't worry, Killer Moth, I'll make sure the museum gets their silk tapestries back.
12 NIGHTWING: Nice web-shooter, by the way.

PANEL FIVE
13 KILLER MOTH: Hey! Where are you going with THAT? That cocoon-gun cost me two grand to build!
14 KILLER MOTH: Stop! Thief!
15 NIGHTWING: Not one for irony, are you?

PAGE FIVE
PANEL ONE
1 DICK/CAP: Yeah, this is going to work out just fine.
2 DICK/CAP: New city.

PANEL TWO
3 DICK/CAP: Swanky new headquarters.
4 DICK/CAP: And with my new trophy, I'm well on my way to--

PANEL THREE
5 NIGHTWING: Holy--

PANEL FOUR
6 NOTE: This will get you started.

PANEL FIVE
7 NIGHTWING: Ha.
8 DICK/CAP: So how DID he get it up here? Best not to ask.
9 DICK/CAP: Chalk it up to magic.
10 SIGN: END

[Dingo]

I've been getting some questions about the differences between PLOT and SCRIPT. That's fair. The easiest answer: A plot describes everything that happens in the story-- everything the artist needs to draw. A script features all the dialogue and text that goes into a story-- everything the letterer needs to letter.

Writing plot then script is usually referred to as "Marvel Style"-- though that's probably more true of the way things were done back in the 60', 70's, and 80's. Nowadays, everyone writes full script... except for dinosaurs like myself.

Dinosaur or not, I bet you are the only one that embelishes them with colour coding.
Also, is 'letter' a verb?

[killerbass]

Also, is 'letter' a verb?

It is in the dictionary that comes with Mac OS X 10.4...

verb 1 [ trans. ] inscribe letters or writing on : her name was lettered in gold. � classify with letters : he numbered and lettered the paragraphs. 2 [ intrans. ] informal be given a school or college initial as a mark of proficiency in sports : juniors who lettered in soccer, basketball or softball.

[Miss Kitty Fantastico]

I use 'letter' as a verb, but only in relation to comics. After all, they have letterers - clearly, these are people who letter

I had a hoot reading the Punisher script - mainly from the hilarity of a bunch of pampered executives trying to take out Frank Castle on a duck hunt. A lot of the laughs were from the very clear visuals I had of the panels, so that was neat writing - sight gags without sight. And even if the photocopier gag had since been done elsewhere (though I must have missed it), it was still awesome.

Ah, thinking back to the days when 64 meg was a lot of data...