Hello, and welcome to the first issue of The Superior Foes Friends of Spider-Man, presented by Marvelcado Comics!
I wound up writing this as a full comic script, which means, yes, it’s almost laughably long. I apologize. Hopefully my writing is good enough that you’re persuaded to read the whole thing. (And hey! Normally you’d have to pay $3.99 for this much content!) The format itself is pretty self-explanatory, but to get you started:
— All “captions,” unless otherwise indicated, are voice-over narration. All voice-over narration, unless otherwise indicated, comes from Boomerang.
— If the same character is listed as speaking two or more times in a row, that means each thought would get its own speech bubble. Or its own part of the speech bubble, if it’s one of those where the speech bubble is, like, snowman shaped. You know what I mean. It’s a pacing thing.
Enjoy!
PAGE 1
Panel 1:
Splash page. In front of a Manhattan skyline, SPIDER-MAN fights DOCTOR OCTOPUS. We’re right in the middle of the action, frozen in time. Both figures are in exciting, dynamic poses — webs, arms, legs, and tentacles twisting every which way.
1. CAPTION: This guy, right?
2. CAPTION: No, not Spider-Man! Why is it always Spider-Man with you people?
3. CAPTION: I’m talking about the other guy. The guy NEXT to Spider-Man. The guy who’s caused Spider-Man more grief than just about any other human being on the planet.
4. CAPTION: Well, J. Jonah Jameson.
5. CAPTION: Or maybe Norman Osborn.
6. CAPTION: But then you’ve got to get into clones and ****. Nobody wants to start talking about clones and ****.
7. CAPTION: What was I saying?
8. CAPTION: Right:
PAGE 2
The panels on this page run top to bottom, and have very loosely defined borders, if any at all. The images should flow somewhat seamlessly into one another.
Panel 1:
Another big, splashy shot of DOC OCK robbing a bank, with money raining down around him and bags of cash held in his tentacles’ grip.
1. CAPTION: This guy.
2. CAPTION: Otto Octavius, a.k.a. “Doctor Octopus.” Spider-Man’s archenemy. Not that I could tell you why.
Panel 2:
Expanding on the image from Panel 1, OCK is followed out of the bank by SANDMAN, MYSTERIO, KRAVEN THE HUNTER, ELECTRO, and VULTURE, all holding cash bags of their own.
1. CAPTION: Okay, that’s not fair. He was a pioneer in his field — the mastermind behind the original supervillain team-up: The Sinister Six.
2. CAPTION: And boy did that idea have legs.
Panel 3:
A huge group shot of all (or at least most) of the villains who have ever been part of the various Sinisters Six, Seven, Twelve, Sixteen, Sixty-Six, or Syndicate. The majority are in shadow or silhouette, but a group of them stand well-lit, front and center: BOOMERANG, SHOCKER, BEETLE, SPEED DEMON, OVERDRIVE, and THE LIVING BRAIN.
1. CAPTION: Not to brag, but I actually used to run a Sinister Six of my own. That is, until I left it behind to pursue… other ventures.
2. CAPTION: None of that ever could have happened without old Otto. The guy was a hero to villains everywhere.
Panel 4:
Pure black.
1. CAPTION: At least…
2: CAPTION: until he died.
PAGE 3:
Panel 1:
A funeral. Doc Ock’s funeral, to be precise. Those in attendance are dressed in black, but many, such as TOMBSTONE and the TINKERER, are still recognizable as notable Spider-Man villains. Others, like MYSTERIO, still wear some or all of their costumes.
1. CAPTION: Okay, look, I’m not stupid. I know a line like that has lost a lot of its ‘oomph’ since the days when Jacob Marley kicked the bucket.
2. CAPTION: Probably half the guys in my phone contacts either are or were dead, at some point.
INSERT: STILT-MAN, KRAVEN, and MIRAGE stand side by side, waving. Arrows pointing to them declare ‘Is Dead,’ ‘Was Dead,’ and ‘???,’ respectively.
3. CAPTION: But the Doc’s another story. We’re going on three years now, and nobody’s seen hide nor bowl cut of the guy. Or at least, not so far as they’re willing to tell anyone.
Panel 2:
The funeral is over, and now we focus in on the grave: the tombstone bearing the name ‘Otto Octavius,’ and the freshly dug mound of dirt sitting before it.
1. CAPTION: Which brings me to my point, just in time for you to start wondering why the hell I’m telling you all of this.
2. CAPTION: See, recent evidence has come to light suggesting that the rumors of Ock’s death were… slightly exaggerated.
3. CAPTION: And if that evidence pans out…
Panel 3:
A mechanical tentacle bursts forth from the dirt in front of the grave.
CAPTION: It’s gonna make me a fortune.
PAGE 4
Panel 1:
The interior of a pristine white office. Light streams in through the windows. As does a white-and-blue costumed arm, which curls around the window frame and stretches for the door handle.
CAPTION: Oh, yeah. That’s me.
Panel 2:
The arm withdraws.
Panel 3:
The arm comes back in, now holding a white boomerang, which gives it the extra length necessary to reach the handle.
CAPTION: Boomerang. Hi.
INSERT: The boomerang depresses the handle enough for it to *click!*
Panel 4:
The door opens, and we are finally introduced to BOOMERANG.
1. CAPTION: I know what you’re thinking. Didn’t I just tell you that I used to run my own gang? What am I doing breaking into some glorified computer lab in broad daylight?
2. CAPTION: Well, first of all, mind your own business. The market’s tough.
Panel 5:
BOOMERANG creeps inside, closing the door behind him as he surveys the numerous computer monitors and other readouts scattered around the interior.
CAPTION: And second of all, this isn’t just any computer lab. It just so happens to be the current headquarters of Parker Industries.
Panel 6:
A wide shot of the “building’s” exterior. It’s a portable one-room office, with corrugated metal walls, located smack dab in the middle of the parking lot for a nearby office park.
CAPTION: Parker Industries has hit a bit of a rough patch.
PAGE 5
Panel 1:
BOOMERANG continues his snooping.
1. CAPTION: Which makes this the perfect time for a guy like me to loot them for their experimental tech.
2. CAPTION: Genius, right?
Panel 2:
BOOMERANG pokes around inside a cabinet. The LIVING BRAIN wheels up behind him.
LIVING BRAIN: Whirr– klik-ik– Greetings, Frederick Myers.
Panel 3:
BOOMERANG jolts away in surprise.
BOOMERANG: Gah!
Panel 4:
BOOMERANG shouts at the LIVING BRAIN.
BOOMERANG: You scared me half to death, you stupid —
Panel 5:
The recognition of his old teammate finally hits him.
CAPTION: Wait a minute. I know this robot.
Panel 6:
Two-shot of BOOMERANG and LIVING BRAIN.
1. BOOMERANG: Brainy? What the hell are you doing here? I haven’t seen you since Spider-Man kicked our — narrowly bested us!
2. LIVING BRAIN: Whirr– click-ik– This unit is employed at Parker Industries as the lab assistant to Mr. Peter Parker.
3. BOOMERANG: No kidding? Small world. And hey, uh, maybe call me Boomerang when we’re in public, eh?
Panel 7:
BOOMERANG turns his back to the robot and returns to the cabinet he was searching.
1. LIVING BRAIN: Whirr– klick-ick– Apology: Yes, Frederick Myers.
2. BOOMERANG: So listen, as long as you’re here, you wouldn’t happen to know where this Parker guy keeps his valuables, would you?
Panel 8:
Close-up of LIVING BRAIN.
1. LIVING BRAIN: Whirr– click-ik– Negative. Such information is not shared with this unit.
2. LIVING BRAIN: Though this unit has observed a safe located in the indicated compartment.
Panel 9:
BOOMERANG kneels next to an open cabinet, which does indeed contain a safe.
BOOMERANG: Well, look at you!
PAGE 6
Panel 1:
In the darkness of another storage compartment sits a WEB-SHOOTER with an attached glove. On the metal of the wrist-strap is a small screen, displaying a countdown that reads “00:00:00:01.”
1. BOOMERANG (OFF-PANEL): Now get lost.
2. LIVING BRAIN (OFF-PANEL): Whirr– klik-ik– Yes, Frederick Myers.
3: BOOMERANG (OFF-PANEL): Boomerang!
4. LIVING BRAIN (OFF-PANEL): Whirr– clik-ik– Yes, Frederick Myers.
Panel 2:
Extreme close-up. The countdown reads “00:00:00:00.”
SOUND EFFECT: *beepbeepbeep!* *beepbeepbeep!*
Panel 3:
The countdown is replaced by the words “INITIALIZING…”
Panel 4:
The index finger of the glove begins to twitch.
PAGE 7
Panel 1:
An almost empty panel, full page width. A white countertop sits at eye level in the foreground, against a background of computer monitors and other hardware.
1. BOOMERANG (BENEATH THE COUNTER): Stupid safe. Where’s Shocker when you need him?
2. BOOMERANG (BENEATH THE COUNTER): Or, I dunno, Black Cat or something?
Panel 2:
Same set up as Panel 1, only now the glove and WEB-SHOOTER have crawled into frame along the countertop, a la Thing from The Addams Family.
1. SOUND EFFECT: *vrrt, vrrt, vrrt, vrrt*
2. BOOMERANG (OFF PANEL): Brainy, I thought I told you to beat it.
3. LIVING BRAIN (OFF PANEL, OTHER SIDE): Whirr– click-ik — Affirmative: This unit has left your vicinity.
Panel 3:
Same set up. The WEB-SHOOTER still sits in the middle of the countertop. Now BOOMERANG’S head, visible from the nose up, has risen from the floor to observe it.
Panel 4:
Same set up. Same image. The only change is the addition of a boomerang, slowly raised above BOOMERANG’S head, ready to strike.
PAGE 8
Panel 1:
WHAM! The boomerang smashes down on the counter, but the WEB-SHOOTER nimbly leaps out of the way.
BOOMERANG: ****!
Panel 2:
BOOMERANG lunges at the WEB-SHOOTER with both hands as it skitters across the counter.
Panel 3:
BOOMERANG lunges at it again as it skitters back the other way.
Panel 4:
The WEB-SHOOTER leaps up and smacks BOOMERANG across the face.
BOOMERANG: Ow!
Panel 5:
The WEB-SHOOTER rapidly scurries down to the far end of the office.
Panel 6:
The following four panels are all small and placed side-by-side. In this one, BOOMERANG’S hand reaches back to grab a boomerang from his belt.
Panel 7:
And now his hand THROWS said boomerang.
Panel 8:
A WOOSH of action lines!
Panel 9:
BOOMERANG grins as we hear a metallic:
SOUND EFFECT: *REEEKK!*
PAGE 9
Panel 1:
BOOMERANG stands before the WEB-SHOOTER, pinned to the wall by his bladed boomerang. It wriggles as if in pain.
1. SOUND EFFECT: *vrrt! vrrt! vrrt! vrrt!*
2. BOOMERANG: Gotcha.
Panel 2:
BOOMERANG grips the WEB-SHOOTER with one hand, and plucks his boomerang from the wall with the other.
Panel 3:
BOOMERANG holds his new prize up for a closer look, watching it writhe in his grip.
LIVING BRAIN (OFF PANEL): Whirr– clik-ik– Query: Do you require assistance, Dr. Octavius?
Panel 4:
BOOMERANG turns to the LIVING BRAIN, still gripping the WEB-SHOOTER.
BOOMERANG: Brainy, for the last time, it’s Boomer–
Panel 5/6/7:
A triptych of close-ups on BOOMERANG’S face. First a look of suspicion comes over it. Then he looks back at the WEB-SHOOTER. Then he looks back at the LIVING BRAIN.
PAGE 10
Panel 1:
The WEB-SHOOTER hits BOOMERANG square in the face with a squirt of web, causing him to drop it.
BOOMERANG: Oof!
Panel 2:
BOOMERANG tugs at the webbing on his face.
Panel 3:
And with some difficulty, pulls it off.
Panel 4:
The WEB-SHOOTER has returned to its cabinet, the door slightly ajar. It gives Boomerang the finger.
Panel 5:
The cabinet door slams shut behind it.
Panel 6:
Close-up: BOOMERANG scowls at the departed web-shooter.
Panel 7:
Close-up. BOOMERANG goes into full alert as he hears a voice outside.
VOICE (OFF PANEL): I’ll just be a minute, Aunt May!
Panel 8:
Close-up: BOOMERANG rapidly looks back and forth for a place to hide.
VOICE (OFF PANEL): I just need to grab a few things.
Panel 9:
BOOMERANG dives for cover, just as the door opens.
PAGE 11
Panel 1:
We’re inside one of the office cabinets. The sliver of light from the barely-ajar door shows BOOMERANG, curled up in a ball and sweating.
1. VOICE (OFF PANEL): Morning, Brainy.
2. LIVING BRAIN (OFF PANEL): Whirr– klik-ick– Greetings, Mr. Parker.
Panel 2:
Boomerang’s POV. Through the crack in the door, we see PETER PARKER talking to his robot assistant.
1. PETER: I’m gonna be gone for a few weeks. Think you can watch the lab for me?
2. LIVING BRAIN: Whirr– click-ick– Affirmation: Of course, Mr. Parker.
Panel 3:
The tell-tale squiggles appear around PETER’S head. Something has set off his Spidey Sense.
Panel 4:
PETER whirls around to spot the danger…
Panel 5:
But sees only the empty office, the door perhaps a bit more open than he had left it.
PAGE 12
Panel 1:
Wide shot. PETER leans out the door to look around the parking lot, but there is no one in sight save for a speck of a figure on the horizon.
A magnifying INSERT blows this figure up large enough for us to see that it is none other than BOOMERANG, running away at a full sprint.
Panel 2:
In the foreground, the LIVING BRAIN attends to its duties, while PETER re-enters the room, nudging a cabinet closed with his foot.
1. PETER: Hey, Brainy, have any strangers come through here today?
2. LIVING BRAIN: Whirr– click-ick– Response: Negative. No strangers observed in past 24 hours.
3. PETER: Hmm.
Panel 2:
Wide overhead shot. The small figure of PETER locks the door behind him and gives a thumbs up to his AUNT MAY, waiting for him in an RV several yards away.
1. CAPTION: So yeah, that was weird, right?
2. CAPTION: Of course, I didn’t think all that much of it at the time.
Panel 3:
The LIVING BRAIN sits idly in the lab, the WEB-SHOOTER perched on its shoulder.
1. CAPTION: Partly because I was lucky to have made it out of there.
2. CAPTION: Good thing that stupid robot is so literal.
PAGE 13
Panel 1:
The middle of the street. A bunch of GOONS hanging out the back of a van throw a bag over BOOMERANG.
CAPTION: But mostly, I’d guess it’s because I was too distracted by this.
Panel 2:
Blackness.
VOICE (OFF PANEL): Hey, Fred.
Panel 3:
Medium shot. The bag is pulled off of BOOMERANG’S head. He’s in a warehouse tied to a chair.
CAPTION: Aw, hell.
Panel 4:
Reverse shot. Standing before Boomerang’s chair, mostly in costume but unmasked, is Herman Schultz, the SHOCKER.
1. CAPTION: Well that’s a shocker.
2. CAPTION: Get it? ‘Cause he’s the Shocker?
3. CAPTION: Eh, you got it.
Panel 5:
Back to BOOMERANG, his face faking enthusiasm.
1. CAPTION: The irony is, I can’t even say I didn’t ask for this.
2. BOOMERANG: Herman!
3. BOOMERANG: Buddy!
4. BOOMERANG: Long time no see! How are you?
Panel 6:
Two-shot of SHOCKER and BOOMERANG. The former looks down at the latter with a look of disdain.
1. SHOCKER: I’m not dead, if that’s what you’re getting at.
2. BOOMERANG: Hm.
3. BOOMERANG: Yeah, no, you were definitely still alive when we buried you, so that tracks.
4. BOOMERANG: For the record — that was entirely Beetle’s idea.
Panel 7:
Medium shot of SHOCKER.
1. SHOCKER: Listen, Fred, this… actually isn’t personal, if you can believe it.
2. BOOMERANG (OFF PANEL): It is difficult.
3. SHOCKER: I had a few of my guys staking out Parker Industries, and they saw you go in. I didn’t even know it WAS you. We just want to know what you took, and who sent you.
4. CAPTION: Well that was a freebie.
Panel 8:
A wider shot of the room BOOMERANG is being held in. Multiple GOONS in suits encircle the perimeter.
BOOMERANG: Wait… ‘YOUR guys?’ As in them? I assumed THEY hired YOU. Since when do you splurge on henchmen?
PAGE 14
Panel 1:
SHOCKER rubs the back of his head as if embarrassed.
SHOCKER: Oh. Yeah. They’re Maggia.
Panel 2:
BOOMERANG genuinely perks up. He and his chair are on the left side of the panel. On the right side is a flashback/thought bubble in which a more crudely drawn version of SHOCKER triumphantly holds the cyborg head of SILVIO SILVERMANE aloft, power emanating from it as if it were the Ark of the Covenant.
BOOMERANG: No kidding! So that whole Silvermane thing really worked out for you, eh?
Panel 3:
SHOCKER stands sheepishly at the right side of the panel. On the left side is another flashback/thought bubble in which Shocker is politely handing SILVERMANE’S head over to HAMMERHEAD.
SHOCKER: Actually, I wound up giving him back to Hammerhead. The chance to run the big show was tempting, but… it’s just not what I want out of this whole thing, y’know?
Panel 4:
The two share an awkward silence.
Panel 5:
Same framing.
1. BOOMERANG: He was too mean, wasn’t he?
2. SHOCKER: Constant verbal abuse.
Panel 6:
SHOCKER gestures over his shoulder at the GOONS.
1. SHOCKER: Still, a few guys decided to stick with me anyway. Said what I did ‘showed integrity.’
2. BOOMERANG: Well, hey, good for you!
3. SHOCKER: Honestly, I mostly just wish they’d go away.
4. BOOMERANG: Mmm.
Panel 7:
Two-shot of BOOMERANG and SHOCKER
1. SHOCKER: Look, we’re getting off track here. Like I said, just tell us who hired you to go to Parker Industries so we can kill you and be done with this whole thing.
2. BOOMERANG: Right! I —
3. BOOMERANG: Sorry, what?
Panel 8:
SHOCKER again gestures over his shoulder at one GOON in particular, who makes a finger-across-the-throat motion.
1. SHOCKER: Yeah, Gino has this whole thing about it being easier not to leave witnesses.
2. SHOCKER: Sorry.
Panel 9:
Close-up of BOOMERANG, starting to sweat.
1. CAPTION: So much for my freebie.
2. CAPTION: Okay, just gotta think fast…
PAGE 15
Panel 1:
Boomerang’s POV. He observes a stream of light moving across the room, casting his own elongated shadow across the bodies of SHOCKER and his GOONS.
1. CAPTION: Aha! Headlights. That means I’ve been out for at least five hours, which is… oof. Not good.
2. CAPTION: It also means I’m in front of a window on the ground floor, which is.
3. CAPTION: Shocker may be a smart guy, but BOY is he ever a dumb criminal.
Panel 2:
Close-up on SHOCKER.
1. CAPTION: I’ll say this for old Herman, though…
2. SHOCKER: Well? We’re waiting.
3. CAPTION: This is gonna suck.
Panel 3:
Close-up on BOOMERANG.
BOOMERANG: Oh, sorry. I was just thinking how that made sense.
Panel 4:
Medium shot of SHOCKER, looking confused.
1. SHOCKER: How what makes sense?
2. BOOMERANG (OFF PANEL): Gino being the one in charge.
3. SHOCKER: He’s not —
Panel 5:
Two-shot of BOOMERANG and SHOCKER. Shocker is leaning down to get in Boomerang’s face and pointing at himself.
1. BOOMERANG: I get it. You just don’t have what it takes to lead. You don’t have to lie to ME about it. It’s Fred! I still love ya, even if everyone else DOES think you’re a joke.
2. SHOCKER: I’m not a joke! I’ve had Spider-Man on the ropes a bunch ‘a times!
3. BOOMERANG: Sure. And I’ve gotten to second base with Black Cat.
4. CAPTION: Totes have, by the way.
Panel 6:
Close-up on BOOMERANG.
BOOMERANG: I hate to break it to ya, pal, but people hear the name Shocker and they laugh. I mean, honestly, Herman, you do know what else ‘the Shocker’ is, right?
Panel 7:
Close-up on SHOCKER. His brow is beginning to furrow, his lip to twitch. Behind him, one GOON demonstrates a lewd hand gesture to another. Both chuckle.
BOOMERANG (OFF PANEL): Nobody in the old gang respected you. Especially not Beetle. She thought you were gross. Said so to everyone.
Panel 8:
Close-up on BOOMERANG. He’s all the way to yelling now.
BOOMERANG: You’re WEAK, Herman! I bet that’s why Silvermane tried to make you Don, so he could pull your strings! He knew that you were the only man alive who had LESS physical prowess than a disembodied octogenarian head!
Panel 9:
SHOCKER pulls back his arm for a massive haymaker.
SHOCKER: SHUT UP!!
Panel 10:
Full page-width shot. Shocker’s POV. His vibro-shock gauntlet is extended out into the middle of the panel, emitting a shockwave. Beyond his hand, a massive circular hole has been punched through the wall of the building — mostly the window, but also some of the surrounding brickwork. Through the hole, BOOMERANG can just be made out, smashing chair-first into the opposite building.
1. SOUND EFFECT: *VVVVVVVVVVVVVVVV!!*
2. CAPTION: Yup. Sucked.
PAGE 16
The first 6 panels on this page, while obviously still images regardless, should feel like they’re happening in slow motion.
Panel 1:
Close-up of BOOMERANG’S hands, freeing themselves from the splintered wood and now-loosened knots.
CAPTION: So. Boomerangs.
Panel 2:
SHOCKER leaps through the shattered window into the alley.
1. CAPTION: I’m not going to bore you with all the physics. Which I definitely know.
2. CAPTION: But the short version is that when a boomerang comes back to its thrower, that only happens as a result of the instrument’s distinctly unique shape and weight distribution.
Panel 3:
Close-up of BOOMERANG’S hand. He grasps around behind his back, finding a slightly curved bit of wood that was once part of the demolished chair.
CAPTION: Any boomerang not made to the exact correct specifications might as well be a regular stick.
Panel 4:
Close-up of BOOMERANG’S hand hurling the piece of wood.
CAPTION: Here’s the thing not everyone realizes about regular sticks:
Panel 5:
The wood wooshes through the air…
Panel 6:
And WHAM! Strikes SHOCKER right across the face.
CAPTION: They still hurt.
Panel 7:
Wide shot. BOOMERANG tackles the disoriented SHOCKER to the ground. Some of SHOCKER’S GOONS start to appear in the broken window and from around the corner.
Panel 8:
Pinning SHOCKER with his knees, BOOMERANG repeatedly punches him in the face.
1. BOOMERANG: Sorry, Herman.
2. SOUND EFFECT: Whap!
3. BOOMERANG: I know it probably doesn’t seem like it right now…
4. SOUND EFFECT: Whap!
5. BOOMERANG: But I really do like you.
PAGE 17
Panel 1:
Flashing red and blue lights fill the alleyway, along with the squawk of a police car. BOOMERANG freezes in place, his expression pure, deer-in-headlights panic.
SOUND EFFECT: Woop-woop!
Panel 2:
Same framing. BOOMERANG grimaces. He lets go of SHOCKER’S costume, and Shocker’s head drops to the ground with a *clunk!*
CAPTION: Of course.
Panel 3:
BOOMERANG stands and looks down at the bloodied SHOCKER.
Panel 6:
Same framing as Panel 4. Backlit with the flashing red and blue lights, BOOMERANG puts his hands up.
Panel 6:
Same framing as previous two panels. Taking advantage of BOOMERANG’S distraction, SHOCKER hits him dead in the chest with a vibro-blast, launching him all the way up and out of frame.
CAPTION: OF COURSE.
Panel 6:
In the foreground, SHOCKER, seen from behind, regains his feet. In front of him, at the entrance to the alleyway, two COPS emerge from the police car, guns drawn and shouting orders. Behind them, four more cops emerge from the two backup vehicles that have arrived.
1. SHOCKER: Aw, hell.
2. SOUND EFFECT: *clik* *clik*
3. FIRST COP: Put your weapons on the ground!
4. SECOND COP: Hands above your head!
Panel 7:
SHOCKER glances down at his hands, holding them out as unthreateningly as possible. Behind him, his GOONS, still pouring out of the building, train their multitude of guns on the police.
1. SOUND EFFECT: *clik* *clik* *clik* *clik* *clik*
2. SHOCKER: You realize I can’t actually do both, right?
PAGE 18
Panel 1:
BOOMERANG hangs from the ladder of a fire escape like a sloth, his knee draped over the bottom rung. From his position, he looks down at the stand-off happening below him.
1. CAPTION: So, yeah.
2. CAPTION: This is bad.
Panel 2:
One of SHOCKER’S GOONS, GINO, steps forward, brandishing his gun at the police. SHOCKER, keeping his hands up, turns his head to talk him down.
1. GINO: Back up, pig!
2. SHOCKER: Easy, Gino. Just do what they say, nobody has to get hurt.
Panel 3:
The lead COP again shouts an order at SHOCKER, growing increasingly manic.
1. COP: I SAID PUT DOWN YOUR WEAPON!
2. SHOCKER: I am trying to comply, I am TRYING to COMPLY!
Panel 4:
GINO advances toward the police, SHOCKER now trying to mediate from behind his overbearing henchman.
1. GINO: Do you know who this is? This is the mother****ing Shocker! The Scourge couldn’t kill him. The Punisher couldn’t kill him. I’d like to see your pig asses try!
2. SHOCKER: I would not!
Panel 5:
BOOMERANG has disentangled himself somewhat from the ladder, and gingerly attempts to step off it onto the closest fire escape landing.
1. CAPTION: Please, God.
2. CAPTION: You know what? Not just God.
3. CAPTION: Yahweh.
4: CAPTION: Allah.
5. CAPTION: Shiva, the Living Tribunal, Dormammu, THOR!
INSERT of Boomerang’s foot, his toes trying to find purchase on the metal grating.
6. CAPTION: I swear, I swear on my LIFE that if I get out of this, I will go straight. So help me, I will never commit another crime as long as I —
Panel 6:
CHUK! The ladder clicks loose of its locking mechanism
BOOMERANG: Well, **** you too.
Panel 7:
The ladder, with BOOMERANG on it, drops out of frame.
SOUND EFFECT: *chukkachukkachukkahchukka…*
PAGE 19
Panel 1:
SHOCKER continues trying to de-escalate.
1. SHOCKER: Can we ALL, PLEASE…
2. SOUND EFFECT: *CHUKKACHUKKACHUKKA!!*
Panel 2:
Hearing the sound, SHOCKER looks up.
SHOCKER: … calm … ?
Panel 3:
Just in time to see BOOMERANG’s feet making a beeline for his face.
Panel 4:
BOOT! A nice big full-page-width shot as BOOMERANG lands a kick right to SHOCKER’S chin, an impact so forceful it lifts him right off the ground.
Panel 5:
SHOCKER’S head hits the pavement.
Panel 6:
So do his gauntlets, sending out two vibro-blasts…
Panel 7:
Right in the direction of his GOONS, who are thrown backwards into the wall, either knocked out, disarmed, or both.
Panel 8:
Close-up. GINO turns around…
GINO: What the — ?
Panel 9:
And takes a boomerang to the face, sending him to the ground.
PAGE 20
Panel 1:
Splash panel. BOOMERANG stands astride SHOCKER’s body, boomerang in hand, the fire escape ladder hanging down from above. In front of him are the POLICE, their guns still trained on the scene before them. Behind him are Shocker’s GOONS, sprawled out on the ground, some in some very unpleasant-looking contortions.
1. CAPTION: You know what? I was wrong.
2. SHOCKER: Unhhh…
3. GOON: Ow…
4. CAPTION: THIS is bad.
Panel 2:
The POLICE survey the scene with some confusion, unsure whether or not they should lower their weapons. One glances at the officer next to him as if she would somehow have a better idea.
Panel 3:
Close-up. BOOMERANG drops the boomerang with a *clack!* and holds his hands up, palms out, at shoulder height.
CAPTION: Thinkfastthinkfastthinkfastthinkfast
Panel 4:
Same close-up. BOOMERANG’S expression has become a grin, and his open hands have become finger guns, pointed at the police.
BOOMERANG: You’re welcome.
Panel 5:
Splash panel. Nearly identical to Panel 1, only with BOOMERANG now in his more confident pose.
CAPTION: And the crowd. Goes. Wild.
At long last, the title of the story appears: