Crisis Weekly #5

PAGE ONE

Panel 1

We see Eduardo Dorado, El Dorado, at night, standing looking up at the moon.  He has a dufflebag slung on his shoulder.  He is dressed in civilian clothes.

EDUARDO DORADO: Give me the strength…

Panel 2

As Eduardo reaches into the dufflebag, and looking down at it, we see bats fluttering across the night sky.

Panel 3

His hand still in the dufflebag, Eduardo is once again looking up at the moon, at the bats.

EDUARDO DORADO: They come again.

Panel 4

Eduardo has now pulled free a cape from the dufflebag.  Unlike the simple one he wore in Super Friends, El Dorado’s cape in Crisis Weekly is ornately designed, evocative of the ancient Aztecs.

EDUARDO DORADO: Let them come.

TITLE: “Desperado”

WRITER: Tony Laplume
 

PAGE TWO

Panel 1

Eduardo has begun running, securing the cape around his neck as he does so.  The cape flaps around him dramatically, because that’s always a cool visual.  The bats are descending from the skies behind him.  We become aware that the landscape around Eduardo is barren, on the border between Mexico and the US.

CAPTION: I don’t know why they meddle in these affairs, but the bats always appear to harass the migrants.

Panel 2

We see Eduardo approaching a group of huddled migrants.  He holds the sides of his cape flared outward.  The bats are hovering just around them.

CAPTION: They can try.

EDUARDO DORADO: It’s okay.  I’m here to help.

Panel 3

Eduardo throws the cape around the migrants, closing it as he does so.

EDUARDO DORADO: They can’t follow us where we’re going.

Panel 4

There’s a blank space where Eduardo and the migrants had been.

Panel 5

Eduardo and the migrants have reappeared, under the mass of the cape.
 

PAGE THREE

Panel 1

Eduardo is lifting his cape, and the migrants have astonished looks on their faces.

CAPTION: The cape allows me to help.  It has been in the family for generations.  My father liked to say it went all the way back to the old days, before the conquistadors, when it served a more ceremonial purpose. 

Panel 2

Eduardo is once again reaching into the dufflebag.  The migrants are standing a little ways off, watching him curiously.

CAPTION: There are days I would like to know what purpose, exactly, it served, in those days.  I honestly can’t imagine a better one than it serves now.

Panel 3

Eduardo is handing a package to the migrants.

EDUARDO DORADO: Take it.  It contains food, money.  Enough to get you started, anyway.

Panel 4

The migrants are bodily expressing gratitude to Eduardo now.

CAPTION: I knew Chavo as a boy.  The rest of them, they’re strangers.  But they don’t need to thank me for what I’ve done tonight.  Sometimes I wish they didn’t.  It would make it easier.

 

PAGE FOUR

Panel 1

The migrants have begun walking away.  Eduardo watches.

EDUARDO DORADO: Would you believe there was a time when the great “El Dorado” worked alongside the Justice League?

Panel 2

Alone now, Eduardo’s expression falls.

CAPTION: But that was a long time ago.  A lifetime.  It doesn’t seem real anymore.

Panel 3

In fact, Eduardo is now collapsing entirely.

CAPTION: Sometimes I doubt they even remember.  If anyone does.

 

PAGE FIVE

Panel 1

Eduardo is in a hospital bed.

CAPTION: The one drawback of using the cape is that it drains me physically.

Panel 2

A doctor, a woman, is looking at his chart.

DOCTOR: You’re going to have to take it easy for a few days, Eduardo.

Panel 3

The doctor is now looking at Eduardo directly.

DOCTOR: Don’t think I don’t know who you are, what you do. 

DOCTOR: Everyone knows, Eduardo.

Panel 4

The doctor continues to talk.

DOCTOR: You’re doing a great thing.

PAGE SIX

Panel 1

Eduardo is walking out of the hospital.  The dufflebag, with the cape inside is, is once again slung over his shoulder.

CAPTION: It’s humiliating, the “superhero” needing to be rescued from the effects of his own heroics.

Panel 2

Eduardo walks the streets.  There are people loitering about.

CAPTION: Sometimes I wonder if I’m truly accomplishing anything at all, if it’s really just my vanity.

Panel 3

Eduardo continues walking.  We see Bloodwynd in the panel, loitering like everyone else, dressed like everyone else, identifiable by his distinctive white eyes, which he is not trying to hide here in Mexico.

CAPTION: People say I’m doing good, and I guess I am, but it never seems to be enough.

Panel 4

Eduardo continues to walk.  He’s passed where Bloodwynd was standing.

CAPTION: After all, the migrants are always there.  Always wanting to go there.  Am I really helping them?

 

PAGE SEVEN

Panel 1

Eduardo is walking into his house, placing the dufflebag down by the door as he does so.  Contrary to the poverty we’ve seen around him, Eduardo’s home is actually nicely furnished.

CAPTION: Fortunately, like a lot of superheroes, El Dorado’s secret identity is capable of doing things, too.  “Eduardo Dorado” might have a less flourish sound to it, but there are benefits.

Panel 2

Eduardo is walking to his bedroom now.  A servant has appeared behind him, holding the dufflebag.

SERVANT: Should I put in the usual place, sir?

EDUARDO: The cape?  Thanks, yes.

Panel 3

The servant is holding the cape and opening a secret closet, next to the one Eduardo himself is opening, which is filled with suits.

Panel 4

The servant is closing the secret closet again, as Eduardo looks at a suit.  He looks less than excited.

EDUARDO DORADO: Time to save the day.
 

PAGE EIGHT

Panel 1

Exterior of Los Pinos, the Mexican equivalent of the White House.

CAPTION: This is where “Eduardo Dorado” works.  Los Pinos.  Home of the Mexican president.

Panel 2

Eduardo, now dressed in formal wear, is walking the corridors of Los Pinos, filled with staffers wandering about.

CAPTION: Mexico hasn’t had a vice president in a hundred years.  The dubious means by which our current president took office, I thought I owed my country service, regardless of who I’m serving under.

Panel 3

We’re entering the office of the president, whom we met at the beginning of Crisis Weekly: the Caballero, who is standing to greet Eduardo.  Caballero still wears his luchador mask, but a different one, more ornate, though it is still fashioned to look like a bat.

CAPTION: He calls himself the Caballero.  I have other names for him, but none of them are polite.  One of them sums them all up: El Dorado’s archnemesis.

EDUARDO DORADO: Mister President…

Crisis Weekly #4

PAGE ONE

Panel 1

We see an older model car driving down the road.  Not only is this an older car, but it’s obviously banged up.  Obviously the driver doesn’t have a ton of money to spend on these things.  There’s no indication that it’s going fast, but there’s also no reason to believe it’s doing anything particularly wrong.  No damage to the taillights, either.  Also important to note that it’s nighttime.

CAPTION: “His daring life of crime…”

Panel 2

But somehow a cop car still shows up behind it with flashing lights to pull it over.

CAPTION: “…Made him a legend in his time.”

Panel 3
The two cars are pulled over and the cop has gotten out and is walking toward the old car.  The cop has red hair.  We’ll find out shortly that it’s our old friend, Guy Gardner.  The driver of the old car is a black man, and we’ll find out shortly that it’s Bloodwynd.  We see Guy from the back and Bloodwynd from the side.

TITLE: “The Ballad of Billy the Kid”

WRITER: Tony Laplume
 

PAGE TWO

Panel 1

Now we see Guy Gardner properly as he approaches the driver of the old car, whom of course we know is Bloodwynd but we still can’t properly identify him, as he’s looking forward and we’re looking on from the side, so we can’t see his distinctive eyes yet.  Guy has grown back that beard and mustache look he had in the pages of Red Lanterns.

GUY GARDNER: Okay.  License and registration.  No funny business.

Panel 2

Bloodwynd is reaching into the glove compartment, so obviously we still can’t see his eyes.  Guy looks impatient.

Panel 3

Bloodwynd is still rooting around in the glove compartment.  Guy still looks impatient.

Panel 4

Bloodwynd is still rooting around, Guy still looks impatient.

GUY GARDNER: Look, is this going to take all night or summat?

Panel 5

Bloodwynd has now located the registration and is handing it over to Guy.  His eyes are downcast, his manner meek, as Guy continues to look impatient.

GUY GARDNER: What are ya, mute?  Know why I pulled you over?

GUY GARDNER: Okay, forget this.  Step out of the car.  Hands where I can see them.

Panel 6

Bloodwynd is emerging from the car, hands raised with documents in them, eyes still downcast.  Guy’s hands are resting on his belt, one planted firmly on his service pistol.

Panel 7

We see that Guy has shoved Bloodwynd roughly against the side of his car and has begun patting him down.

GUY GARDNER: Don’t have anything I should know about, do ya?

Panel 8

The pat down continues.

GUY GARDNER: Y’know, this would be going a lot more smoothly if you just stopped resisting.

Panel 9

Guy’s hand has reached for his club.
 

PAGE THREE

Panel 1 (splash)

Bloodwynd has turned around, only he’s no longer an anonymous black man but very clearly Bloodwynd, in all his awesome ‘90s glory (metaphorically speaking, as…I’m one of the few fans nostalgic about him an’ all).  Which is to say, in full white bodysuit and black cape garb.  He’s literally glowing, lighting up the whole page.  You’d think his eyes would be glaring but his look is entirely benign.  His arms are outstretched, holding up his cape like Bela Lugosi used to as Dracula.  Guy looks completely astonished, and incidentally he’s also facing us, with his head turned around, as if he turned in fright, the club falling out of his hand to the ground.  This is also to say, we can see his named listed as “Gardner” on his uniform.  Bloodwynd’s word bubble is of course ringed by his distinctive red fringed outline, which is one of the reasons why we didn’t hear him talk before, to help emphasize this moment and surprise (for anyone theoretically seeing this as an actual comic rather than reading it as a script).  We can also see that Guy is wearing the yellow ring for the first time in this particular script, the first real confirmation we’ve had of that fact.

BLOODWYND: Guy Gardner, you ignorant slut.

 

PAGE FOUR

Panel 1

Now that he’s revealed himself so spectacularly, Bloodwynd has reverted back to civilian clothes, and has a meek expression on his face.  Of course, he still has his distinctive totally white eyes, which is another reason why we never saw them before.  Guy still looks completely astonished.

GUY GARDNER: Bloodwynd…!

GUY GARDNER: Oh my god!

Panel 2

Bloodwynd continues to stand by his car patiently.  Guy is suddenly looking apologetic, his hands raised out in front of him, no longer threatening or reaching for weapons.

GUY GARDNER: Bloodwynd…!  How was I s’pposed to know it was you?

Panel 3

We see Bloodwynd frowning.

Panel 4

Bloodwynd is reaching down for the fallen club.

Panel 5

Bloodwynd is handing the club back to Guy.

Panel 6

Bloodwynd is still frowning as he finally replies.

BLOODWYND: Why would it have mattered?

 

PAGE FIVE

Panel 1

Guy suddenly has a friendly posture.  Bloodwynd has not changed his expression.

GUY GARDNER: Bloodwynd, buddy! 

GUY GARDNER: Long time no see!  How long’s it been?

Panel 2

Bloodwynd has no immediate response.

Panel 3

Bloodwynd continues to frown as he responds.

BLOODWYND: Not since the Doomsday business, I imagine.

Panel 4

Guy is running his hand through his hair with an abashed look on his face.

GUY GARDNER: Yeah.  That.  Nasty business.  None of us came out looking good after that one.

GUY GARDNER: ‘Course, Superman dyin’ an’ all…

Panel 5

Flashback panel to Guy in the immediate aftermath of Doomsday smashing his face, his eye sockets completely crushed, that ridiculous bowl haircut that artists finally moved past.  Of course he’s also in that blue costume we’ve been referencing in Guy’s previous Crisis Weekly appearance, and although we can’t see it, has the yellow ring the first time.  This callback to Doomsday will prove more significant in later weeks as we revisit Bloodwynd’s experiences related to it, so this also amounts to a teaser and preview of sorts.

 Panel 6

Guy is stroking his jaw, back in the present. 

GUY GARDNER: Face still hurts.  Case you were wondering.

 

PAGE SIX

Panel 1

Bloodwynd and Guy continue to talk.

BLOODWYND: This was unnecessary, Guy Gardner.

Panel 2

Same as previous panel.

BLOODWYND: This business of pulling me over.  Because I am black.

Panel 3

Guy is suddenly looking defensive.

GUY GARDNER: Whoa, whoa!  Let’s not be hasty here!

Panel 4

Bloodwynd shoots Guy a look.

Panel 5

Same as previous panel.

BLOODWYND: Guy Gardner.  Do not lie to me.

 

PAGE SEVEN

Panel 1

Guy has begun leaning against the side of Bloodwynd’s car.

GUY GARDNER: What kin I say?  It’s been rough recently.  Been under a lot of stress.  You have no idea.

Panel 2

Same as previous panel.

GUY GARDNER: Okay, I admit it.  Okay?  I don’t even know why.  Okay?

Panel 3

Same as previous panel.

GUY GARDNER: It wasn’t even black people.  It was White Martians. 

Panel 4

Guy is looking at Bloodwynd, searching for sympathy, of which he is receiving none.  Bloodwynd is blank, stoic.

GUY GARDNER: I know, I know.  The White Martian business was after your time in the League.  Technically after my time, too, but I was still active in the field.  You weren’t.  But we all know you spent time trapped inside J’onn.  You knew about the White Martians, right?  You know what I’m talking about?

Panel 5

Bloodwynd doesn’t immediately respond. 

Panel 6

Same as two previous panels.

BLOODWYND: I know about the White Martians.

Panel 7

Another silent panel as Guy continues to look at Bloodwynd, this time with a curious expression.

Panel 8

Guy looks amused.

GUY GARDNER: “Ignorant slut”?

Panel 9

Guy is smiling.

BLOODWYND: A cultural idiom.  I heard it on TV once.  I was trying to fit in.

 

PAGE EIGHT

Panel 1

Guy has stood back up from Bloodwynd’s car, getting ready to go back to his squad car.

BLOODWYND: Guy Gardner.  Wait.

Panel 2

Guy has turned back toward Bloodwynd.

BLOODWYND: About the White Martians.

BLOODWYND: I have agreed to investigate them for President Reilly. 

BLOODWYND: Regardless of what happened here tonight, I would appreciate your help.

Panel 3

Guy looks relieved.

GUY GARDNER: Yeah.  Sure.  Anything I can do, buddy.

GUY GARDNER: Sorry about all this.  Swear I’m not bad.

Panel 4

Bloodwynd is responding, but he’s also distracted.  He’s looking upward.

BLOODWYND: No, you’re simply Guy Gardner.  You cannot help yourself.

Panel 5

We pan upward and see what has caught Bloodwynd’s attention: a swarm of bats in the night sky.

Panel 6

Bloodwynd continues to look toward the sky.  He is alone in this panel.

BLOODWYND: Bats…

Crisis Weekly #3

PAGE ONE          

Panel 1

Exterior of Wesley Dodds High School.

CAPTION: The end of the world begins with a bang.

Panel 2

Exterior of Wesley Dodds High School, this time with flashes coming from one of the windows.

SFX: Bang! Bang! Bang!

TITLE: “It’s the End of the World as We Know It (and I Feel Fine)”

WRITER: Tony Laplume

PAGE TWO

Panel 1

This is of course a school shooting, and now we’re in the interior of WDHS, in the classroom with the shooter, with students trying to find cover all around him.  We see bodies already fallen.

CAPTION: Even if you’ve heard about this a thousand times, it doesn’t prepare you to experience it personally.  It just can’t.  How could it?

Panel 2

Panning around the room we see that it is a science room, and that the teacher is Ray Palmer, the erstwhile Atom.  He has a little pin on his tie with the Atom symbol on it.  He’s as pinned down as anyone.  No heroics from a superhero today.  He’s clearly traumatized by what’s happening, but still trying to shield some students from the bullets.

CAPTION: That’s Mister Palmer.  We’re not supposed to know anything about it, but he’s Ray Palmer, the Atom.

Panel 3

Panning further around the room, our as-yet unidentified narrator has now drawn our focus to Marty Kirby, one of the students.  He’s a slightly overweight youth who’s as terrified as anyone else in the situation.

CAPTION: That’s Marty.  Marty Kirby.  We’re not friends, but I-I know his name.  After today, Marty’s going to be living a very different life.  He’s going to be curious for the first time ever about the namesake of Wesley Dodds High School.  He’s going to become the new Sandman, and he’ll investigate why this happened.

Panel 4

Finally we see the narrator as the pan around the room.  We see a girl more or less in front of the shooter.  She’s got freckles and out-of-control red hair.  Her name is Rachel Rogerson. 

CAPTION: That’s me, Rachel Rogerson. 

PAGE THREE

Panel 1

Exterior of WDHS again as the same window flashes again.

SFX: Bang! Bang! Bang!

Panel 2

Exterior with the same window flashing.  One final shot.

SFX: Bang!

 

PAGE FOUR

Panel 1

Police have entered the school, and the students are scattering.  We see Marty among them.  Ray Palmer is talking with a cop.

CAPTION: The normal thing to say here would be, “It happened so fast.”

Panel 2

Down a corridor where everyone is streaming in the opposite direction except the police.

CAPTION: Except it wasn’t fast.  Everything happened in slow motion.

CAPTION: I can remember all of it, and I don’t think that’s ever going to change.

Panel 3

We follow the cops back into the room. 

CAPTION: How can I forget?

Panel 4

Now we’re back in the room, and we see nothing but dead bodies, and Rachel.  We see bullet holes in her clothes, but no blood.  She’s in complete shock.

CAPTION: But there are no words that can describe any of it, and there never will be.

 

PAGE FIVE

Panel 1
Ray Palmer has helped escort Rachel from the room, and there are emergency workers ready to attend to her.  Ray looks remarkably calm.

CAPTION: It’s everything that happens after that’s a blur.  Meaningless.

Panel 2

As the EMTs check Rachel out, Ray Palmer remains at her side.  His face is full of grief now that he doesn’t have to remain strong for her.

CAPTION: They want me to call it “survivor’s guilt,” what I’m feeling, as if that will make it better.

Panel 3

The EMTs are leaving, and Ray Palmer remains with Rachel, holding her.  She’s crying.

CAPTION: I’m crying and I don’t know why.

Panel 4

Rachel’s parents have arrived, and Ray Palmer is letting her go.

CAPTION: I don’t feel anything.

 

PAGE SIX

Panel 1

Rachel is sitting in her room.  It’s filled with the typical accoutrements of a teenage girl’s interests.  Apparently the big boy band phenomenon of the moment is BTS, so there’s lots of posters of them on the wall.  We see that Rachel is wearing different clothes, but holding the old ones in her hands, though she’s not looking at them.  She’s not looking at anything in particular, in fact.

CAPTION: I don’t mean that figuratively.

Panel 2

Rachel continues to sit in her room.

CAPTION: I don’t feel anything at all, emotionally.  Physically.

Panel 3

Rachel continues to sit in her room.

CAPTION: And suddenly I have no idea when that started.

Panel 4

Rachel continues to sit in her room.

CAPTION: And that scares me the most of all.

 

PAGE SEVEN

Panel 1

Rachel’s parents are at the door of her room, trying to coax her out.

CAPTION: I’m like that guy in the movie, who found out he was invincible, and tried to remember if he’d ever been sick.

Panel 2

Rachel’s parents continue to try.

CAPTION: I look back, and try to remember if I ever felt anything.  Surely someone would’ve noticed?  Someone would’ve cared?

Panel 3

Rachel’s parents continue to try.

CAPTION: I don’t mean to suggest my parents are monsters or anything, but it’s easy to get caught up in life, if nothing ever makes you stop and pay attention.  That can happen to anyone.

Panel 4

Rachel is reluctantly getting up.

CAPTION: Sometimes the most obvious thing in hindsight is impossible to see beforehand.
 

PAGE EIGHT

Panel 1

Rachel is morosely seated at the dinner table.  Her parents are once again trying to encourage her.

CAPTION: The EMTs examined all the bullet holes in my clothes. 

Panel 2

Rachel continues to pretend she’s interested in sitting at the table.

CAPTION: There were no wounds behind the holes.  There were fifty-two holes.

Panel 3

Rachel is still at the table.

CAPTION: The shooter killed everyone else he hit. 

Panel 4

Rachel is getting up.  Her parents look on sadly.

CAPTION: So, I’m bulletproof.  Yay.

Crisis Weekly #2

PAGE ONE          

Panel 1

Wide shot of the White House.

IRON JOE: Honestly can say I never thought this day would come.

Panel 2

Iron Joe, a scruffy looking man in his late forties, graying hair, in a suit that’s as roughly worn as the stubble on his face, is shaking hands with the President of the United States, an old white dude. They’re alone in the Oval Office.

PRESIDENT: Let people say what they’re going to say, Joe.

PRESIDENT: Welcome home.

Credits

TITLE: “Back in the U.S.”

WRITER: Tony Laplume

PAGE TWO

Panel 1

Lorraine Reilly, Firehawk, is walking the corridors of the West Wing, talking with aides, or more accurately, processing her thoughts out loud.  Firehawk is the Vice President, and as such is in civilian attire.

LORRAINE REILLY: I have no idea how we’re going to recover from this one.

LORRAINE REILLY: This latest stunt.

LORRAINE REILLY: This time he’s gone too far.

Panel 2

Lorraine continues to walk the corridors.

LORRAINE REILLY: Bringing in the last cold warrior.

LORRAINE REILLY: The one who turned.

LORRAINE REILLY: One of the most notorious Americans who ever lived.

LORRAINE REILLY: The traitor.

Panel 3
Lorraine continues to walk the corridors.

LORRAINE REILLY: And he gets a pardon.

LORRAINE REILLY: Just like that.

Panel 4

Lorraine continues to walk the corridors.

LORRAINE REILLY: This goes well beyond the territory of damage control.

LORRAINE REILLY: This takes the cake!

Panel 5

Lorraine continues to walk the corridors.

LORRAINE REILLY: They’ll have his presidency for this one.

LORRAINE REILLY: It’s over.

Panel 6

Lorraine continues to walk the corridors.

LORRAINE REILLY: Can’t even say it was fun while it lasted.

 

PAGE THREE

Panel 1

A new aide rushes up toward Lorraine. 

Panel 2

The aide is whispering into her ear. 

Panel 3

Secret Service agents have begun surrounding Lorraine, who appears frankly baffled by what’s happening.

LORRAINE REILLY: Bats?  In the White House?

LORRAINE REILLY: How is this an emergency???

Panel 4

Lorraine is allowing herself to be moved to safety.  She doesn’t really have a choice in the matter.  She now sports a resigned look.
 

PAGE FOUR

Panel 1

In the emergency bunker, Lorraine is glaring at the Secret Service agents surrounding her now.

LORRAINE REILLY: Would someone please tell me what’s going on?

Panel 2

Slowly, the realization is setting in.  Lorraine now looks worried.

LORRAINE REILLY: Oh my god.  We’ve been attacked.

Panel 3

Now Lorraine is gathering herself, taking charge, new resolution showing on her face. 

LORRAINE REILLY: Gather the Cabinet.  We’ve got to get ahead of this.  Prepare a statement for the press.  Make sure the President…

Panel 4

A fresh look of horror has stricken Lorraine.

LORRAINE REILLY: Oh my god.  He’s dead, isn’t he?

 

PAGE FIVE

Panel 1 (splash)

Lorraine is taking the oath of office in a hastily prepared ceremony in the emergency bunker.

LORRAINE REILLY: I solemnly swear…

 

PAGE SIX

Panel 1

Lorraine is now in the Oval Office.  She sits at the desk, momentarily paralyzed by the whirlwind series of events.

Panel 2

Lorraine is signaling with her hand for someone to approach, someone we can’t see yet.

LORRAINE REILLY: Even without your costume you stick out like a sore thumb.

LORRAINE REILLY: You might as well come out…

Panel 3

Bloodwynd, still outfitted in the same trench coat and fedora we saw him in last week, phases into view behind Lorraine.  Unlike his appearance in Grant Morrison’s MULTIVERSITY, Bloodwynd’s speech bubbles will retain the old squiggly red borders they had in Dan Jurgens’ JUSTICE LEAGUE AMERICA.

LORRAINE REILLY: …Bloodwynd.

BLOODWYND: Madam President.

Panel 4

Bloodwynd is now completely visible behind Lorraine, whose demeanor hasn’t changed.

LORRAINE REILLY: Old super friends can afford to be informal.

LORRAINE REILLY: Just call me Lorraine.

LORRAINE REILLY: Let the rest of the world call me President Reilly.

LORRAINE REILLY: Or Firehawk.

Panel 5

Lorraine has swiveled around to face Bloodwynd, who hasn’t moved.

LORRAINE REILLY: You know, since you lost the costume, you could maybe afford to tell me your name, too.

Panel 6

Here you might expect something to happen, but it doesn’t.

Panel 7

Lorraine places an exasperated hand to her chin as she continues to stare at Bloodwynd.

LORRAINE REILLY: The cutup as always, eh Bloodwynd?

Panel 8

Much the same image as previous.

LORRAINE REILLY: Alright, I’ll bite.

Panel 9

Lorraine and Bloodwynd phase out, Lorraine with a startled expression on her face.
 

PAGE SEVEN

Panel 1

Lorraine and Bloodwynd phase back, but as phantoms, in the Oval Office, but hours earlier, when the President was still alive and meeting with Iron Joe, the beginning of this week’s experiences.

LORRAINE REILLY: You could’ve warned me.

 

LORRAINE REILLY: What’re they saying?  I can’t hear a thing.

Panel 2

Lorraine is staring at Bloodwynd in annoyance again, because he is once again less than forthcoming with answers.

Panel 3

Lorraine stares at the scene before them as the bats appear.

BLOODWYND: They appeared as if out of nowhere. 

BLOODWYND: But that is not what I wanted you to see.

Panel 4

Flames suddenly engulf the President.  Lorraine looks shocked.

Panel 5

The President turns into a White Martian.

Panel 6

Lorraine and Bloodwynd share a look.
 

PAGE EIGHT

Panel 1

Lorraine and Bloodwynd phase back into the present.

BLOODWYND: During the time I shared the Manhunter’s body, I learned a great deal about Martians.

Panel 2

Lorraine has stood up.

BLOODWYND: I knew of the threat the White Martians posed before anyone else, barring the Manhunter himself.  I should have acted then.  I know not why the Manhunter didn’t, why he allowed things to escalate as they did.

Panel 3

Lorraine’s face shows new concern.

BLOODWYND: They are clearly escalating again.  The President likely never knew that he was one of them, if that concerns you.  That does not mean the others will share this amnesia, brought on by the Manhunter from the last crisis.  It was another mistake on his part.

Panel 4

Bloodwynd continues to talk.  Now we’re focusing solely on him.

BLOODWYND: Though again, I share in some of his sins.

BLOODWYND: Perhaps more than I cared admit.

Panel 5

Bloodwynd continues to talk.

BLOODWYND: The bats I cannot currently explain, although I have suspicions.

Panel 6

Bloodwynd continues to talk.

BLOODWYND: In short, I offer atonement.  I will discover the truth in these affairs.  I will stop this from escalating further.

 

BLOODWYND: I do not believe, as the press will invariably conclude, that the spy Iron Joe had anything to do with it.  I intend to recruit him.  I intend to do all this with or without your blessing.

BLOODWYND: What do you have to say…Lorraine?

Crisis Weekly #1

PAGE ONE

Panel 1 (splash)

We’re peering over the shoulder of the Caballero, one of the main villains of Crisis Weekly.  He’s the Mexican president, so he’s in his executive office, alone.  He wears a traditional luchador mask, nose covered (unlike the mistake the recent twelve-issue Bane miniseries made), with a bat motif.  Otherwise he’s dressed formally.  There’s going to be a big surprise about the Caballero’s identity at the end of the series, but for now he’s a mystery.  Anyway, he’s watching a video on his phone (because that’s what we do these days), only it’s not just any video, but the classic moment, captured via surveillance footage (which is to say it’s in black and white), of Bruce Wayne deciding his destiny. 

BRUCE WAYNE: I shall become a bat!

Credits

TITLE: “The Boys Are Back In Town”

WRITER: Tony Laplume

 

PAGE TWO

Panel 1

Every panel on this page is going to be more or less the same: bats flying, with captions.  The bats may be either individually drawn for each panel or included in one large image split into a nine-panel grid, for the purposes of the captions (which is probably preferable).

CAPTION: I’m no hero.

Panel 2

Bats flying.

CAPTION: My name is Guy Gardner, and I was a Green Lantern.

Panel 3

Bats flying.

CAPTION: And a warrior.

Panel 4

Bats flying.

CAPTION: Now I’m literally yesterday’s news.

Panel 5

Bats flying.

CAPTION: And today’s.

Panel 6

Bats flying.

CAPTION: And tomorrow’s.

Panel 7

Bats flying.

CAPTION: So I guess you can add “Public Enemy Number One” to my list of monikers. 

Panel 8

Bats flying.

CAPTION: I was always known as kind of a screw-up.

Panel 9

Bats flying.

CAPTION: Made that official.  Wanna make something of it?

 

PAGE THREE

Panel 1

The first of another nine panel grid of similar images, this time of Jack Ryder, the erstwhile Creeper, in a Youtube series similar to Eddie Brock’s guerilla journalism in the recent Venom movie.  Jack doesn’t have a cameraman, though.  He’s capturing his show via selfie stick, so every image is going to feature him from an angle rather than straight on.  Whether or not you include a border around each panel with a Youtube-type logo (if you do, it’ll be called “Newtube”) is up to you.

JACK RYDER: I’m Jack Ryder with another edition of Ryder’s Row!

Panel 2

Jack’s selfie show continues.

JACK RYDER: Today we’re going to be talking about, like we always do on Ryder’s Row, what nobody else is talking about.

Panel 3

Jack’s selfie show continues.

JACK RYDER: Forget about Guy Gardner.  Everyone’s talking about Guy Gardner.

Panel 4

Jack’s selfie show continues.

JACK RYDER: No, I want to talk about something interesting!

Panel 5

Jack’s selfie show continues.

JACK RYDER: So, the White Martians are back.

Panel 6

Jack’s selfie show continues.

JACK RYDER: Yeah, the dirty little secret we all want to pretend never happened in the first place, is happening all over again.

Panel 7

Jack’s selfie show continues.

JACK RYDER: The word I got was that the Hyperclan was put down execution-style, but the rest of them are running rampant, believe me, and it’s going to be so much worse this time.

Panel 8

Jack’s selfie show continues.  In this panel Jack’s ambushing Guy Gardner!  Guy’s shoving his hand into the phone, and he’s wearing civvies (probably an update of his classic blue jeans ensemble from the days he was first slinging a yellow power ring; this is not going to be the only callback to that era in Crisis Weekly).  In fact, he’s wearing a yellow ring again, but this only needs to be glimpsed, just at the tip of the panel as the hand is pushing the phone away.  In case you were wondering, this scene is probably unrelated to his monologue on the previous page.

JACK RYDER: But here’s Guy Gardner, too!  Guy!  Care to comment on singlehandedly ruining the public’s trust in the Green Lanterns?  And probably superheroes in general?

GUY GARDNER: No comment!

Panel 9

Jack’s selfie show concludes.

JACK RYDER: Well, there you have it, another edition of Ryder’s Row.  Row, me bully boys!

 

PAGE FOUR

Page 1

This panel is ripped almost straight from the classic JLA moment from “New World Order” (the start of the Grant Morrison era) in which Howard Porter snuck in Marvel characters tied to stakes being executed by the Hyperclan.  Except this time it’s the Hyperclan being executed somewhat anonymously and in ignominy, without any chance to be in the spotlight otherwise.  Their executioners are, in fact, the Bully Boys, who are secretly working for the Creeper.  Jack Ryder’s specific awareness of these events will be explored later, as will the Bully Boys themselves, but for now they, too, will be getting a fairly anonymous moment and introduction.  They’re going to look roughly like Canadian singer Alan Doyle and actors Scott Grimes and Kevin Durand, all three of whom played Merry Men in the 2010 Robin Hood movie (the one with Russell Crowe).  The Bully Boys get their name from a song Doyle wrote for the movie, and are the first of several new creations to appear in Crisis Weekly.  Anyway, the Hyperclan is dying by fire, because of course they’re Martians, White or otherwise.

CAPTION: Previously.

Panel 2

We pan inward toward the flames, just over the head of Protex, the leader of the Hyperclan.

CAPTION: This is the way the world ends, by the way.

Panel 3

Protex’s head is no longer visible.  Now it’s just the flames.

CAPTION: Through fire.

Panel 4

Panning outward again and now we’re at another fire, this one destroying an apartment building in Suicide Slum, a neighborhood in Metropolis familiar to Superman fans.  Guy Gardner, still a Green Lantern, is on-scene mounting rescue efforts.  He’s got a black man in a green bubble as he flies through the air.

CAPTION: It all began with me doing what I always do.  And before you get smart, I mean doing the work of good guys.  Standard superhero stuff.

 

PAGE FIVE

Panel 1

Guy lands himself and the black man back down on the pavement.

CAPTION: But don’t take my word for it.  Daily Planet reporter Clark Kent wrote about it.  He had my back.

Panel 2

Guy and the black man look behind them, startled, as the building they just vacated suddenly collapses.  The captions will now be quoting Kent’s article, and so will be reproduced in newsprint lettering.

CAPTION: “Green Lantern Gardner had succeeded in a partial evacuation of the premises before the collapse.  Survivors, however, immediately began to blame him for the deaths of those still trapped inside.”

Panel 3

Guy finds himself surrounded by angry citizens.

CAPTION: “The Green Lantern, long known for his crass remarks, made matters worse when provoked to defend himself.  Observers claim he said the victims should’ve known they were, quote, living in a rattrap.”

Panel 4

Guy flies off, leaving the angry citizens behind.

CAPTION: “In this reporter’s opinion, the subsequent controversy has only made things worse.  Gardner’s reputation is well-established.  While this doesn’t excuse his remarks, it at least provides some much-needed context.  Gardner is otherwise a familiar fixture of the superhero community and has helped save the world dozens of times over.”

 

PAGE SIX

Panel 1

Guy is sitting in the Ace ‘O’ Clubs, Bibbo’s bar, having a drink.  He’s still wearing the blue jeans ensemble we saw him in Jack Ryder’s web show.  Bibbo is in the background polishing a mug.  Pointedly, he doesn’t seem agitated to have Guy in his establishment.  Bibbo is well-known as a big fan of Superman, and superheroes in general.  The captions are back to normal.

CAPTION: You get the idea.

Panel 2

Guy signals for another drink.

CAPTION: Superman didn’t make things any easier, by the way.  You know what?  I’m gonna shift the blame.  It’s all his fault.  If he hadda kept his trap shut, things woulda never gotten so wildly outta control.

Panel 3

Bibbo pours Guy the next drink.

CAPTION: The stupid idiot defended me.  On the record.

Panel 4

Bibbo’s handing Guy the next drink.

BIBBO: Fer what it’s worth, you an’ Supes are welcome here whenever you want.  Don’t matter what everyone’s sayin’.

GUY GARDNER: Who asked you, anyway?

Panel 5

Bibbo’s walking away, ignoring Guy’s latest crude remark.  He’s used to drunks.  Guy’s already helping himself to his new mug.

CAPTION: So now the public’s sour on alla us.  Just like that.

Panel 6

Guy’s expression has fallen.

CAPTION: Way to save the day, big guy.

 

PAGE SEVEN

Panel 1

Guy stumbling out of the Ace ‘O’ Clubs.

CAPTION: And my fellow Green Lanterns?  Piled right on.  Said it was in everyone’s best interests if I “volunteered to lay low.”  Made it real easy by revoking my ring.  Kicked to the curb.

Panel 2

Guy walks past a black man in a trenchcoat, wearing a fedora.  This is Bloodwynd, another callback to ‘90s lore.  We’ll meet back up with him later in Crisis Weekly.  With the fedora on, and because he keeps to himself, nobody else would probably notice, but we do: we don’t see his pupils.  They’re totally white, just like they were when he was a superhero with that white costume and black cape.

CAPTION: White Martians are covering their tracks.  Know it was them.  Started the fire.  Killing some other guys who knew.  Can’t prove it.  No one will listen.

Panel 3

Guy continues to walk.

Panel 4

Guy continues to walk.

CAPTION: Had too much to drink.

Panel 5

Guy continues to walk.

Panel 6

Guy collapses.

CAPTION: This won’t help.

 

PAGE EIGHT

Panel 1
Guy’s slumped in a recliner watching Ryder’s Row on a tablet.  He’s shouting angrily at it.

GUY GARDNER: Oh, yeah!  Jack Ryder!  Everyone knows you’re the Creeper, you moron!

Panel 2

Now we’re closer up on the tablet, so we’re paying attention to the show.  With Jack is an alien who looks much like Abin Sur, the Green Lantern who died and bequeathed his ring to Hal Jordan.  (For the record, that makes him an Ungaran.)  He’s clad in a brilliant white costume that’s distinguishable from a White Lantern’s.  He doesn’t wear a mask.  He’s got white sparring mitts on both hands.  The emblem on his chest is an intricate box.  Boxers have light boxes like Green Lanterns have, well, lanterns.

JACK RYDER: …on the scene with Barsoom, who’s calling himself an emissary from the Boxers.  Look out, Green Lanterns!  There’s a new alien law enforcement group in town!

Panel 3

Pull back a little so that we’re looking over Guy’s shoulder as he continues to shout at the tablet.

GUY GARDNER: White Lantern!  White Lantern!  White Lantern!

Panel 4

Guy flings the tablet away from him.

Panel 5

Guy looks in the direction of the tablet.

Panel 6

Guy is looking slightly abashed.

GUY GARDNER: Hmm.  Probably shouldn’t have done that.  Also, probably need a job now.

It's coming...! Crisis Weekly!

The Chinese use two brush strokes to write the word "crisis."  One brush stroke stands for danger; the other for opportunity.  In a crisis, beware the danger, but recognize the opportunity.
-John F. Kennedy