Cat-Man and Kitten: “New Life” Pt. 4

Here it is. The big conclusion to my Cat-Man and Kitten One-Shot script. In case you’ve missed the previous parts, or if you want to read it all in one go, check out Part 1, Part 2, and Part 3. It’s been an absolute blast sharing this story with you all and playing with these Golden Age characters. I hope you’ve enjoyed coming along in this journey with me.



PAGE 26

Panel 1
Exterior shot of a nice house, with a focus on its closed garage. Parked in the driveway is the car we saw Cam and Katie drive off in.

KATIE (from inside garage): Wha... what are you...

CAM (from inside garage): What am I doing?

Panel 2
Moving inside, we see that the garage has been converted into a makeshift workshop. Parts and equipment line one wall of shelves. Against another wall is a table of tools: a hammer, some screws and a screwdriver, and a large wrench. A welding area stands in a different section. We also see a window looking out into the night sky. But in the middle of it all is a large machine, two lines of electrodes running off of it. Cam stands next to mechanical monolith fiddling with some settings and a few feet away sits Katie in a wooden chair, her head lolling down toward her chest.

CAM: Taking what you so clearly don’t deserve. Your type is always the same. So carefree and reckless. Never understanding the value of life. Now you’ll know what it’s like to lose it.

KATIE: H...how?

Panel 3
Close on Cam crouching in front of the machine, his brow furrowed in misogynistic dismissal.

CAM: Like you could understand this machine.

Panel 4
Katie out of the seat, fully conscious and looking down at Cam, who has turned to stare up at her. His face registers a bit of shock and surprise but remains oddly calm.

KATIE: Great. Now that I know it’s the machine and not just you, please tell me you want to do this the hard way.

CAM: ...ah.



PAGE 27

Panel 1
Cam blocks a punch from Katie and delivers a hard kick to her midsection that sends her reeling.

CAM: Two blackbelts, a gymnast, and a competitive weightlifter. Please, let’s do this the hard way.

Panel 2
Behind the knocked over chair, Katie lands in the classic superhero version of the three-point stance, ready to pounce. She glares at Cam with narrowed eyes.

Panels 3-5
In a series of small panels, Katie and Cam fight, blocking and trading blows. In one panel, Katie connects with knee to the ribs. In another, Cam elbows her in the temple. Katie has the experience, and if not for the recent rebirth, would have the upper hand. She’s holding her own but is getting worn down in a fight that seems as though it can go either way.

Panel 6
Cam stands in front of the window, a bit out of breath while trashing talking the panting but still standing Katie.

CAM: Wow. You are something. I cannot wait to drain the life from you.



PAGE 28

Panel 1
Framed in the exact same way as the previous panel on PAGE 27, except Cam stumbles forward as Cat-Man swing kicks him from through the window, crashing himself into the garage.

Panel 2
Cat-Man crouches low, his arm over his shoulder having just tossed Katie her weighted gloves, which Katie is in the process of slipping onto her fists. Cat-Man himself appears exhausted and very worse-for-the-wear while Cam glowers at them, back braced against the table of tools, his hand next to the large wrench.

CAT-MAN: Hey Katie. Found your phone.

Panel 3
Cat-Man and Kitten charge at Cam, who launches himself forward, swinging the wrench wide and catching Cat-Man on the shoulder. Kitten ducks low, arm in motion for an uppercut.

Panel 4
Cam careens backward from the uppercut but manages to catch Kitten with a backhanded swing. She rolls with the hit, using the momentum to tumble to the side.

Panel 5
Cat-Man leaps back in, but his previous fight has taken its toll. Cam uses his weight to flip over Cat-Man and sends him into the ground, hard.

Panel 6
Seeing the opening, Katie springs into the air and delivers a jumping back-kick that sends Cam spinning.



PAGE 29

Panel 1
Eyes crazed, Cam holds the electrodes from the machine in his hands and jumps toward Kitten, who braces for the impact. In the background, Cat-Man rises to his feet.

CAM: I’m going to drain you dry, you little—

Panel 2
Kitten on her back, having grabbed both of Cam’s hands in hers to keep the electrodes away from her face. Her feet press against his abdomen, giving her leverage. In the background, Cat-Man lunges toward Cam, arms wide and ready to grab him in a bear hug.

Panel 3
With Cat-Man providing extra support by yanking Cam back, Kitten uses her legs to launch him off of her, and both Cat-Man and Cam stagger backward toward the machine.

Panel 4
The entwined Cat-Man and Cam collide into the machine, the heavy impact causing it to short-circuit in an explosion of sparks, smoke, and electricity.



PAGE 30

Panel 1
In the smokey haze, a coughing Kitten crouches down and reaches toward a body sprawled out face down on the floor. Behind her another unclear figure rises.

Panel 2
A wild-eyed and growling Cam lunges at Kitten from behind, his hands reaching for her neck, but she spins around, a punch smashing into his ribs.

Panel 3
Kitten lays him out with a hard right hook, her weighted fist cracking into his jaw.

Panel 4
Kneeling beside Cat-Man, Kitten turns over her severely dazed and injured friend, calling out his name and trying to keep him conscious.

KITTEN: David! Come on. Stay with me.

Panel 5
From Cat-Man’s point-of-view, we can see the fading image of Kitten leaning over him, darkness creeping into his vision.

KITTEN: David. Can you hea—

Panel 6
Still in Cat-Man’s point-of-view with Katie leaning over him, except she appears completely in focus, a bright light behind her and concern etched on her face.

DAVID: Katie... you’re okay.



PAGE 31

Panel 1
We pull back to reveal Katie and David inside of a hospital room. A recovering David lies in the bed and a relieved Katie stands beside him.

KATIE: I’m alright. I was more worried about you. You’re in the hospital.

DAVID: So, it worked?

Panel 2
Katie is about to exit the room, almost halfway out the door, when something David says from behind makes her stop dead in her tracks.

KATIE: Yeah, we got him. Worry about that later though. Let me get the—

DAVID: You have my powers now?

Panel 3
Katie turns back around, a sense of dread looming over her.

KATIE: What did you just say?



PAGE 32

Panel 1
Katie slowly walks back toward the bed, a confused David watching her every step.

DAVID: My powers. The transfer. It worked? It saved you?

KATIE: David, I know this is going to sound weird, but I need you to answer something for me okay? What year is it?

Panel 2
Close on David in the bed, absolutely perplexed. But we can see it now, a youthful innocence in his eyes. The eyes of a young adult.

DAVID: Katie, what—

KATIE (Off Panel): David, please. I need you to trust me. What year is it?

DAVID: Alright, if you say so. Unless I’ve been out for longer than I thought...

Panel 3
On Katie, her face crestfallen, the heaviest hit of the night slamming into her and irrevocably changing the entire course of her many lives.

DAVID: It’s October, 1946.


END

Cat-Man and Kitten: “New Life” Pt. 3

Welcome back for Part 3 of my clawsome Cat-Man and Kitten one-shot! I probably lost half of my potential readers after that pun but for those of you sticking around, this part is a little more action-oriented than the previous two as Cat-Man and Kitten enact a plan to confront whoever has been literally stealing people’s identities, memories, and lives. What’s that? You have no idea what I’m talking about? Well, check out Part 1 and Part 2 before continuing the story below.



PAGE 17

Panel 1
On Katie’s phone, we can see a message exchange between her and someone using a profile picture of Hannah. This exchange is happening inside the dating app we saw on Page 15.

IN-APP KATIE: That sounds great! I’m free tonight? I know it’s last minute.

IN-APP HANNAH: Tonight’s perfect! How about at—

DAVID (Off Panel): I guess that confirms they’re into younger women.

Panel 2
David and Katie make their way back toward their bedrooms, walking side by side. Katie has an irritated look on her face and David’s concern has finally broken through.

KATIE: Youngest looking 90-year-old ever.

DAVID: Fair... Are you okay? You seem to be having a harder time adjusting this time around.

Panel 3
Katie about to entire her bedroom. Her face stern, her frustration boiling over.

KATIE: I’m fine. I’ve just been hit on all day and now I’m going to get hit on again... except this time by a possible sociopath.

Panel 4
David gives her a look as if to say, “case in point.”



PAGE 18
In the upper third of the page, we see a split screen view of two parallel events: both David and Katie getting ready. These are a series of close up shots of them putting on various pieces of clothing, David suiting up and Katie dressing up.

Panels 1-3
David putting on Cat-Man’s boots, gloves, and mask.

Panel 4-6
Katie putting on earrings, heels, and grabbing a clutch.

KATIE: It’s just so much sooner this time. We were just getting back into it and Boom! we have to start over... again.

DAVID: Maybe... you can sit this one out. At least until you feel ready.

KATIE: No, that wouldn’t be fair. But we have, what, four lives left?

Panel 7
They emerge from their rooms, David in full Cat-Man gear and Katie in a stylish dress and heels.

KATIE: Are we going to spend all of them doing this?

CAT-MAN: Let’s talk more about it later. For now, we got at least one more adventure together.



PAGE 19

Panel 1
Katie exits an Uber that has pulled up in front of a busy sidewalk. Well-dressed people already a few drinks deep mill about.

CAPTION BOX (Cat-Man): Remember, once you’re inside, we can’t communicate.

Panel 2
A bouncer holds open the door to a trendy lounge and bar. Katie walks in, flashing a bright and inviting smile.

CAPTION BOX (Cat-Man): We don’t want to risk him accidentally seeing a text.

Panel 3
Katie takes a seat at a high-top table, placing her clutch on top of it and scoping out the area. The lounge is busy but not overcrowded.

CAPTION BOX (Cat-Man): And we don’t know what this guy looks like, so—

CAPTION BOX (Katie): Relax. I’m a pro, remember? Besides...

Panel 4
Cat-Man stands on a rooftop across from the lounge, keeping an eye on the front door.

CAPTION BOX (Katie): I’ve got someone watching over me.



PAGE 20-21
Double page spread. These two pages are broken down into four widescreen panels each. The pages can be read together or one after the other, but the intent is to split the scenes down the middle, with Katie’s scenes on the left and Cat-Man’s scenes on the right.

Panel 1
Katie sitting at the high-top, chin in hand. She glances around, noticing a few people on their phones. She watches for someone looking her way but doesn’t spot anyone.

Panel 2
Cat-Man does some sit-ups on the roof. With every full sit-up, he’s able to peek at the entrance to the lounge, keeping an eye on it.

Panel 3
Katie on her own phone, trying to look bored and casual. But her eyes are still searching the area for anything suspicious.

Panel 4
Cat-Man does some elevated push-ups on the roof, keeping the doors in his line-of-sight.

Panel 5
Katie brushes off a clearly drunk guy hitting on her.

Panel 6
Cat-Man balances precariously upside down on one hand on the edge of the roof.

Panel 7
Katie looks up, feigning surprised innocence at a figure standing in the foreground of the panel. We see him from the back in silhouette.

STRANGER: Excuse me...

Panel 8
David once again observing the entrance to the lounge, one foot on the edge of the roof, arms folded onto his bent knee.

VOICE (Off Panel): Well, well...



PAGE 22

Panel 1
A handsome stranger in their mid-20s stands at Katie’s table, a “nervous” air about him. Katie fakes feeling flattered, flashing him a shy smile.

CAM: I couldn’t help but notice you by yourself. I don’t normally do this, but, um, I’m Cam.

Panel 2
Cat-Man has turned toward the mysterious voice, revealing members of The Wolfpack on the roof behind him. Red Wolf stands in the middle, his mask chipped from where Cat-Man hit him with the case at the beginning of the story.

RED WOLF: Look what the cat dragged in.

CAT-MAN (under his breath): Ah, come on.

Panel 3
Cam sits at the high-top chatting with Katie. Cam still seems “nervous,” but Katie’s body language is making her appear interested and flirtatious.

CAM: This is so unlike me. Do you, uh, come to these places often?

KATIE: Every now and then. You know, gotta live a little sometimes.

Panel 4
Cat-Man holds his hands up in a gesture of peace while looking over his shoulder back toward the doors. The Wolfpack stays where they are, their expression unreadable behind their wooden masks.

CAT-MAN: Can we maybe do this some other time?

RED WOLF: Oh? Would you prefer we come back when you got your Kitten with you? Heard you got a new one.

Panel 5
Cam and Katie continue to talk. Cam is pointing toward the bar. He grins a boyish smile but there is a dangerous spark in his eyes.

CAM: Is it okay if I buy you a drink? Live a little, right?

KATIE: You know what? That would be great!

Panel 6
Close on Cat-Man. He glares at the off-panel Wolfpack with a hard look.

RED WOLF (Off Panel): Maybe we take care of her like we did the other one.



PAGE 23

Panel 1
Katie and Cam laughing and having a good time.

Panel 2
Cat-Man brawls with the Wolfpack on the roof. It’s not going especially well. He kicks one and blocks a hit from another but more come at him with crowbars and brass knuckles.

Panel 3
Cam has one arm around Katie, helping her stand up from the table. She holds her forehead with one hand. She’s clearly woozy, not feeling well.

Panel 4
Two of the Wolfpack members are knocked out. Cat-Man has his fists up but looks a bit roughed up. One comes at him from the front, the other from the side.

Panel 5
Cam and Katie exit from the lounge into the night. He’s helping support her as they walk, her legs sluggish.

Panel 6
Cat-Man hunches over the edge of the roof, having just taken a punch to the face. His eyes are narrowed, brow furrowed, as he notices Cam and Katie getting into a car.

CAT-MAN: Damn.



PAGE 24-25
Double page spread. Each widescreen panel stretches across both pages and features a long profile view of the rooftops and street. On the rooftops, we see Cat-Man fight the Wolfpack while racing to catch up with the car carrying Cam and Katie. Each widescreen panel also features multiple images of the characters and car, conveying movement and distance.

Panel 1
2-page widescreen panel featuring three image sequences of the fight and car:

• On the rooftop, one of the members of the Wolfpack flies backward into the others from a hard kick. Cat-Man is already bolting in the other direction, heading toward a gap between buildings. The car is right below them, heading down the street in the same direction.

• Cat-Man leaps across the gap, behind him, members of the Wolfpack are also mid-air, following him across. The car is slightly ahead of them.

• Cat-Man lands on the other rooftop and tucks and rolls. Some members of the Wolfpack are about the land, others are still mid-air, and one dangles on the edge of the building, not quite making it. The car is further ahead.

Panel 2
2-page widescreen panel featuring two image sequences of the fight and car:

• Cat-Man has spun around to catch the Wolfpack off guard. He has clotheslined one, wrapped his arm around them and jumped into a drop kick against another. Below them on the street, the car is far ahead, almost on the second page.

• Knocked out members of the Wolfpack scatter the rooftops. Cat-Man has reached another gap between buildings and is leaping backward over it, tossing a crowbar at Red Wolf, the lone remaining Wolfpack member. The crowbar smacks into his mask, sending him careening backward. The car is almost entirely off the page.

Panel 3
1-page widescreen panel. From over Cat-Man’s shoulder, we see the busy street below extending out in the distance, the car gone from view.

Panel 4
In a straight-to-reader shot, Cat-Man hangs his head, devastated.

Panel 5
Cat-Man whips his head up, eyes wide, an idea suddenly hitting him.


END PART 3

Cat-Man and Kitten: “New Life” Pt. 2

And so a week later I have returned with the next part of my Cat-Man and Kitten one-shot comic script! What’s that? It’s been way more than a week? Well, considering time no longer has any meaning at this point in the world (and for anyone reading this in the future, look up 2020... I’m sorry ahead of time), it both has and has not been a week. But if you’re Cat-Man and Kitten, I guess it was a lifetime ago.

Anyway, the adventure continues! You can check out Part 1 Here, and I hope you enjoy this next section of the story! Comments always welcome!



PAGE 9

Panel 1
Inside a large, curiously decorated office—a hand-carved desk, a bookshelf packed with old weathered books alongside newer looking ones, a few paintings that seem like original works—David sits in a chair with a laptop, his eyebrows quirked. A visibly irritated Katie has just entered carrying bags of clothes. Her hair has been cut into a style similar to the one she had previously, but just a little longer. We can see a comfortable looking couch and a coffee table behind her, as well as a door with the words “MerryCon Investigations” stenciled into a large pane of glass.

DAVID: Have you seen my phone?

KATIE: You have got to turn on find my phone, David. But I’m pretty sure I saw it in the kitchen.

Panel 2
David slips his phone into his pocket as he walks through a kitchen area off of their office. Unlike the office, the kitchen feels more modern, though sparsely furnished, with a square, four-person dining table, refrigerator and dishwasher, and a few appliances (coffee maker, toaster over, and blender).

DAVID: Are you doing alright?

KATIE (Off Panel): Fine. Just a little frustrated going through all this again so soon. Not to mention half these clothes I basically owned back in the ‘90s.

Panel 3
Katie exits her bedroom into the kitchen dressed in better fitting, more modern clothes. She reaches over to take a driver’s license from David’s outstretched hand. He smiles softly, hoping what he’s sharing might cheer her up just a bit.

DAVID: Well, in brighter news: I got our new IDs and you are officially 18.

KATIE: Thank god. I could not do high school again.



PAGE 10

Panel 1
Close on Katie’s ID. She’s staring down at it, looking at an image of herself but from a literal lifetime ago. We can see some of the details about her but most of it is off panel. We’re focused on the picture of a smiling Katie.

KATIE (Off Panel): Did you stick with 20?

DAVID (Off Panel): I went with 22. Might as well keep our age difference.

Panel 2
From inside the fridge, we see Katie reaching for a drink, hand hovering over a beer. She could use one but is hesitant.

KATIE: Technically, it’s a 10-year difference.

DAVID: We haven’t been 10 years apart for—

Panel 3
David and Katie both turn their heads toward the hallway leading back to their office. Katie’s out of the fridge, the door shut on the beer.

VOICE (Off Panel): Hello? Is anywhere here?

Panel 4
David and Katie re-enter their office to find a middle-aged woman standing near the entrance that Katie came in from earlier. She looks surprised, somewhat nervous, fiddling with her purse.

WOMAN: Uh, is this MerryConn Investigations?

DAVID: Yes, that’s us. How may we help you?

WOMAN: Oh, I’m sorry. You just... seem a little young to be P.I.s

Panel 5
Close on David and Katie’s smirking faces.



PAGE 11

Panel 1
The woman—Mrs. Wallace—sits in an armchair, while on the other side of the coffee table David braces against the arm of the couch. Katie, on the other hand, sits in the middle of the couch, leaning forward to inspect a set of pictures on the table that we can’t quite make out just yet.

MRS. WALLACE: I know how this will sound. It’s just... I didn’t know where else to go and—

DAVID: It’s okay, Mrs. Wallace. We won’t judge. Just tell us what happened.

MRS. WALLACE: It’s my daughter, Hannah. She lost her memory.

KATIE: Memory loss isn’t exactly—

Panel 2
Close on the pictures. They are of Hannah, 19 years old, pretty, blonde. One of her with her friends at a party. One with her and her mom. But in the one on top, Katie’s fingers visible on the bottom corner of the photo as she turns it to get a better look, Hannah is dressed in a windbreaker, grinning widely and holding up a gymnastics medal.

MRS. WALLACE (Off Panel): It’s more than that. Her identity has been stolen.

Panel 3
Mrs. Wallace explains her predicament to David and Katie, her face a mix of emotion and desperation, tears about to spill from her eyes. She needs them to believe her, to help her and her daughter.

MRS. WALLACE: Someone has broken into her social accounts, her bank accounts... someone is pretending to be Hannah!

Panel 4
Back on Katie and David, both listening intently to Mrs. Wallace. David is sympathetic while Katie glowers with intensity.

MRS. WALLACE (Off Panel): ...while the real Hannah, my Hannah, doesn’t even remember me...



PAGE 12

Panel 1
At night, a frightened couple runs out of a back alley as Cat-Man and Kitten take on three thugs. Their costumes have been modified to a more modern style. They appear more durable in order to protect their smaller builds. Instead of singlets, both wear full body coverings. Their boots are heavier and their gloves rougher to add more impact to their kicks and punches. Despite all this, the fight isn’t going nearly as well as their one against the Wolf Pack, even though they face far fewer numbers. Cat-Man takes a blow to the side while Kitten barely dodges a pipe swung at her face.

KITTEN: I spoke with the daughter but... got nowhere. Doesn’t remember anything.

Panel 2
Cat-Man smiles, getting a hit on one of the thugs, who goes careening backward, but another grabs him from behind.

CAT-MAN: Social accounts definitely still active. Whoever it is has been po—oh!

Panel 3
Cat-Man leaps backward, propelling him and his assailant high into the air and against the side of the building, slamming the back of the thug against it and knocking the wind out of them both.

CAT-MAN: Can’t believe I’m saying this, but I have to actually concentrate on this fight.

KITTEN (Off Panel): Told you.

Panel 4
Cat-Man pounces toward the other still-standing thug while Kitten grapples with her pipe-wielding attacker. Kitten smiles, for the first time since their “rebirth.”



PAGE 13

Panel 1
Back in their office, David and Katie recover while sprawled out on their sofa and couch, half out of their costumes and masks removed. Boots off, David has claimed the couch and holds an ice-filled handcloth against his jaw. Katie has flopped down awkwardly into the armchair, laying across its arms with her body folded toward the cushion. Her head leans on one arm and her legs dangle over the other. Her gloves lie on the nearby coffee table.

KATIE: What were you saying about her accounts?

Panel 2
David sits up. He moves the icepack away from his jaw and flexes the muscles while talking, touching the spot gently with his free hand.

DAVID: I talked with her friends. Whoever has been posting online talks exactly like her. They all thought it was her until they found out otherwise.

Panel 3
Katie still lays on the armchair in the exact some position, but she’s turned her head toward David, eyes gazing off in contemplation. She drums her fingers onto the glass tabletop while relaying her thoughts.

KATIE: Even with her bank accounts, whoever it is would have to know all the answers to her security questions.

Panel 4
Close on Katie, brow knitted in frustration.

KATIE: So, all we have is a name, then. The guy her mom said she was talking to?

Panel 5
David stands beside Katie, reaching his hand down toward her. He grins, all charm and playful amusement.

DAVID: Jack Spencer, yeah. More than enough to go on.



PAGE 14-15
Double page spread. Across these two pages, we see David and Katie investigating Hannah’s memory loss while also fighting crime as Cat-Man and Kitten and readjusting to life. There’s no dialogue across these pages. Everything is conveyed through events and body language.

Panel 1
David talks with a young man in a computer store. He is fit and handsome. On his nametag we can make out, “Jack.” He appears surprised but happy to help.

Panel 2
At a grocery store, Katie fumes while picking out some veggies. We can see two guys checking her out and saying something “flirtatious” but actually obnoxious to her.

Panel 3
Cat-Man and Kitten in the middle of a fight in an illegal gambling ring. Cat-Man takes a hit to the face and Kitten cartwheels over a table.

Panel 4
Katie speaks with a young woman at a coffee shop. Katie is attentive, reassuring the embarrassed girl across from her.

Panel 5
David at the gym on the bench press. No one around him really pays too much attention. Meanwhile, Katie is working her triceps, rolling her eyes as a guy attempts to give her advice.

Panel 6
Katie tries to enter a club, but the bouncer gives her a skeptical look over her ID.

Panel 7
David waved into the same club, the bouncer not even bothering to check his ID.

Panel 8
David at the club bar, leaning toward the bartender and asking questions while she hands a beer to a different customer.

Panel 9
Cat-Man and Kitten in a park, pouncing out of some trees and interrupting a weapons deal in progress.

Panel 10
David and Katie at the kitchen table in their office/apartment eating some breakfast. David is on his laptop and Katie is on her phone while simultaneously scribbling in a notebook.

Panel 11
David and Katie both talking to a man, someone closer to their former age rather than their current ones. They lean toward his phone, which he holds out toward them.

Panel 12
Close on the phone screen. On it, a dating app is open, the man’s profile pulled up.



PAGE 16

Panel 1
At MerryConn Investigations, Mrs. Wallace sits in the armchair, David and Katie across from her on the couch, both of them sitting this time. They explain what they’ve uncovered to the relieved mother.

DAVID: The good news is that Hannah will get her memory back. She’ll be fine. Her social accounts and email are most likely gone...

KATIE: But you can clear things up with the bank in person once her memory returns.

MRS. WALLACE: I’m so happy that Hannah will be alright! But how did this even happen?

Panel 2
In an angled profiled shot, a stern-faced Katie explains to Mrs. Wallace what happened. David faces his partner, tight-lipped after she cut him off.

DAVID: I’m afraid we’re not—

KATIE: Unfortunately, we found multiple people this happened to, a pattern where someone is apparently stealing people’s memories and identities.

Panel 3
Closer on Katie, her anger and disgust evident.

KATIE: Everyone that’s experienced this is okay, but they’ve had part of their lives taken from them by this person.

Panel 4
David ushers a flummoxed Mrs. Wallace out the door, a reassuring smile on his face.

MRS. WALLACE: Oh my god. Are you working with the police to find this person?

DAVID: Don’t worry. The proper authorities are on it. We promise.

Panel 5
Having seen Mrs. Wallace out and shut the door behind her, David faces Katie, who now stands by the armchair on her phone. David masks the concern he’s feeling, attempting to hide his thoughts behind his usual charm.

DAVID: Speaking of those “proper authorities,” how’s it going for them?

KATIE: Well... I’d say pretty good.

Panel 6
Katie holds her phone out toward the approaching David.

KATIE: “Hannah” wants to meet.

END PART 2

Cat-Man and Kitten: “New Life” Pt. 1

Welcome to the first part of a brand-new comic book script for a Cat-Man and Kitten one-shot! As mentioned in my previous post, I decided to do a re-imagining of the public domain heroes for this site (and to keep my writing muscles working).

I’m splitting the script into 4 parts for easy reading, with each part consisting of about 8 pages, and I’ll ideally be updating the site weekly with the next part. I thought this might be easier for readers (hopefully I have those) to get through rather than one giant post of 32 script pages.

I’m very excited about this new endeavor and I hope you all join me for it! Comments welcome, and please enjoy this first part of the all-new Cat-Man and Kitten in “New Life.”

PAGE 1

Panel 1
On top a large stack of shipping containers crouches CAT-MAN, aka 32-year-old David Merrywether. He wears a colorful costume consisting of a long-sleeved orange singlet with shorts, and red belt, gloves, boots, cape, and cowl complete with cat ears. It’s a costume that some would call “traditional” and others would call “dated.” He gazes down toward the entrance of a nearby warehouse, its rooftop about 15 feet from his location. It’s dark, near pitch black, with the only light coming from the full moon and stars above. Yet he does not squint, nor are his eyes open in strain. He looks as though he was in a well-lit room.

CAT-MAN: Well, this certainly is the right place. I see our guy...

Panel 2
Close on the focus of David’s gaze. A shady guy walks toward the entrance of the warehouse hauling a large case. He looks over his shoulder nervously, making sure he wasn’t being followed.

CAT-MAN (Off Panel): ...but I don’t see you.

Panel 3
Pressed against a wall of the warehouse, around the corner from the entrance is KITTEN. The 28-year-old Katie Conn is dressed in an outfit nearly identical to David’s, including the full cowl with cat ears. The biggest difference is that her shorts matches the red of her accessories. Her head is turned toward the corner’s edge, having just leaned away from view. She’s calm and collected, a professional in her element.

KITTEN: Other side of the warehouse. I was worried he’d see me... tailing... him. Meet on the roof in 20.

Panel 4
A large, wide shot of the warehouse. From one side, we see Cat-Man leaping across the gap between the shipping containers and the roof, the movement whipping at his cape. On the other side, Kitten is mid-spring upward.



PAGE 2

Panel 1
On the rooftop, Cat-Man holds his lower back with one hand, a grimace on his face, as he walks toward Kitten, who lifts and begins to enter a skylight window.

DAVID: I forgot how much aging past 30 takes a toll.

KITTEN: I wouldn’t know.

DAVID: You remember.

Panel 2
Now inside the warehouse, with a bird’s-eye view, Cat-Man and Kitten sneakily crawl across the rafters and beams. Far below them, we see a group of people facing a large table. Theirs backs are toward us but on the table, we can see stacks of money and bricks of drugs.

Panel 3
Cat-Man silently lands on his feet some distance behind the group. Kitten is mid-drop next to him.

Panel 4
Having crept closer, Cat-Man and Kitten stand dynamically and heroically behind the group. Kitten has her hands on her hips but Cat-Man points toward them, his body turned at a slight angle to emphasize his gallantry. A bit of over-the-top superheroism tugging at him.

CAT-MAN: Stop what you’re doing and turn around slowly.



PAGE 3

Panel 1
The group at the table have turned around to face the off-panel Cat-Man and Kitten. From the neck down, they’re dressed in normal street clothes. T-shirts. Jackets. Jeans. But on their face, each one wears a wooden mask in the shape of a wolf. Most are gray and black, stylized and painted with exaggerated features, but one is red with a wide grin of bared teeth.

Panel 2
Back on Cat-Man and Kitten, their enthusiastic postures have dropped slightly. Kitten stands with a bit of quiet exasperation while Cat-Man’s pointer hand has lost its passion and lowered down toward his waist.

KITTEN: Remember how we used to just fight bank robbers?

CAT-MAN: That was 70 years ago.

Panel 3
Weapons in hand—a collection of chains, crowbars, and spiked knuckles—the gang advances on Cat-Man and Kitten, led by the man in the Red Wolf mask. They’re cocky, positive that because they outnumber the duo, they can easily take them.

RED WOLF: Looks like a bunch of curious cats have stumbled into the den of... THE WOLFPACK!

KITTEN (under her breath): Oh god.

Panel 4
The pack charges at Cat-Man and Kitten who brace for the fight, striking combat ready but feline-like poses. David stands arms up at his waist, claws out. Kitten crouches down, one hand on the floor, the other raised high.

RED WOLF: And you know what they say about curiosity and the cat.

DAVID: No, tell us. We’ve never heard before.



PAGE 4

Full Page Splash
Cat-Man and Kitten mid-fight with the Wolfpack. A determined Cat-Man catches a swinging crowbar with one hand while punching out a member of the pack with the other. Kitten grins as she slinks down the ground on all fours, dodging a chain from behind that ends up colliding with the face of a different pack member.

TITLE & CREDITS



PAGE 5

Panel 1
Unconscious members of the Wolfpack scatter the area, some on the ground, others crashed into crates. One member even lays knocked out and bent over the table. Kitten pulls a medallion out from one of the pack member’s coat while Cat-Man fills the case the shady guy from Page 1 was carrying in with the cash on the table.

KITTEN: Got the medallion.

CAT-MAN: Nice work. We should probably turn in all this cash, too.

Panel 2
Back outside, Cat-Man and Kitten stroll away from the warehouse side-by-side. Cat-Man carries the case of money in one hand as the two casually chat. Kitten stretches one arm horizontally across her body. She squints and her eyes look up and to the side as she contemplates David’s question. Unseen by them, the battered Red Wolf leans against the warehouse doorframe, a gun-like weapon in hand.

CAT-MAN: What are you thinking for dinner tonight?

KITTEN: Not sure. What’s even open this late?

Panel 3
Cat-Man dodges to the side and deftly tosses the case of cash straight at the Red Wolf, which smacks him hard in the face. The pack leader drops to the floor as the gun goes off, firing wildly.

RED WOLF: Di—*

Panel 4
Rising back to his feet, a pleased Cat-Man looks over his shoulder toward Kitten, who stands in silhouette from the waist up in the foreground.

CAT-MAN: Thank you cat reflexes. Am I ri...

Panel 5
A reverse angled shot of the previous panel. This time, Cat-Man stands in the foreground in silhouette. A confused Kitten holds her hands over her abdomen, blooding seeping from between her fingers and over her hands.

CAT-MAN: Katie...?



PAGE 6

Panel 1
David helps the severely injured and bleeding Katie down an alley, one hand around her lower back for support and the other holding onto her arm draped across his shoulder. Both their masks are off, revealing their mutually strained faces. David has dark brown hair and a rugged face while Katie sports short-cropped, bright blonde locks. Blood soaks much of Katie’s costume and her feet drag as she tries to walk, even with David’s help.

DAVID: Come on, Katie. We have to get to a hospital. Come on.

Panel 2
Both heroes begin collapsing to the floor, David unable to carry Katie any farther. Katie’s eyes are already closed, and David’s are halfway there, heavy and lidded. Sweat covers David’s face and Katie’s seems white and pallid.

DAVID (woozy, tired): Got to... keep moving...

Panel 3
David and Katie on the floor of the alley. Katie is unresponsive, lying on her back. David is on his side, still conscious but only barely, seconds way from fading completely.

DAVID: ... keep... mov...

Panel 4
A wider, more pulled out shot of the previous panel. David and Katie lie on the floor, unmoving.



PAGE 7
This page features a series of images, flashes of moments that begin bleeding together, coming faster and faster, a rush of information.

Panel 1
A Tigress approaches an 8-year-old David weeping in the jungle, the bodies of his dead parents and sister surrounding him.

Panel 2
An older David, around 15-years-old, living in the jungle with the Tigress and other tigers.

Panel 3
A dying Tigress places her paw on the chest of a 20-year-old David, a glowing energy between them. They’re no longer in the jungle but in a city.

Panel 4
David and a noticeably young 11-year-old Katie as Cat-Man and Kitten. They are both smiling widely, a very old-school “Golden Age” look about them.

Panel 5
A concerned Cat-Man with his mask off holding the hand of a dying 16-year-old Kitten. The same glowing energy that was between David and Tigress now between their hands.

Panel 6
A much older David and Katie—40 and 36, respectively—argue with each other. Neither wear their costumes.

Panel 7
A younger looking David and Katie compared to the previous panel. They’re both in darker-colored costumes, gritting their teeth as they punch out two thugs.

Panel 8
David and Katie as we knew them, David smiling and the short-haired Katie with a smirk on her face.



PAGE 8

Panel 1
Katie bolts up with a gasp. She’s sitting in the alley we last saw her in but looks significantly younger. Her costume hangs loosely off her and her hair is longer, down to her shoulders.

Panel 2
Katie gazes down at herself, taking in her younger appearance and frame in dismay. Behind her stands a more fresh-faced David. His costume also hangs off his slightly less muscular build. He stares off toward the distance, listening to approaching sirens.

KATIE: Oh, no. Not again.

DAVID: I’m afraid so. We got to go.

Panel 3
David and Katie rapidly climb and jump their way up the side of a building, scaling the structure with ease. Katie brushes her hair out of her face in frustration.

DAVID: It does feel good to be this spry again.

KATIE: You say that now but wait till you try to do a flip kick and fall on your ass.

Panel 4
The two make their way across a city skyline, bounding across rooftops in cat-like leaps. Their ill-fitting clothes flap in the wind as much as their capes.

KATIE: Barely even a decade. This sucks!


END PART 1

Who the heck are Cat-Man and Kitten?

When I started doing research for the Monster Mash-Up anthology, I ended up diving pretty deeply into the world of public domain superheroes. And my friends, what I found there was equal parts fascinating and coocoo-for-cocoa-puffs insane (and just the slightest bit racist?). These characters were created around the dawn of superhero comics, about 1940, and pretty much none of them landed. The companies that published them folded, copyrights expired or never existed, and they lapsed into the public domain for anyone to use if they wanted to.

Everyone promptly forgot about them.

But I kind of fell in love with a lot of these absurd characters, all clearly created to capitalize off the popularity of the highly successful and relatively recently debuted Man of Steel and Dark Knight Detective. Even after completing the anthology, part of me really wanted to explore some of these characters a little more, and with the launch of this website I decided, why not do that?

Generally speaking, publishers don’t have a ton of interest in revamps of failed Golden Age characters. But I enjoy them, so I’m going to be flexing my writing muscles by coming up with re-imagined stories for these characters and giving them all-new twists. But before we get into that, I wanted to set the stage with some info on the character’s original backstory.

With that in mind, buckle up any feline-based-character fans because I’m going to start things off with Cat-Man and Kitten! And if you think Cat-Man sounds like it’s gonna be a pretty close rip-off of Batman, I’m here to tell you, boy is it!

As a young child, David Merrywether witnessed his parents’ murder—but in Burma, so very different. He was raised by Tigress (a literal tiger) and that somehow gave him all the powers of a cat: agility, night vision, the ability to scale any surface, and “nine lives.” The “nine lives” thing never actually came into play, though this character survived the sands of time better than a lot of other Golden Age heroes, so kinda.

David eventually returned to the U.S. where he became a private detective by day and the heroic Cat-Man by night. He also gained a ward, the 11-year-old circus acrobat Katie Conn. It’s like they weren’t even trying, huh? Although, despite him being an adult man and her being a literal child, readers seem way more okay with that than Batman and Robin. I wonder why. I’m kidding. We all know why.

Cat-Man and Kitten’s adventures didn’t last long, with their original run ending after 33 issues (which is actually quite an accomplishment comparatively). They had a few revivals here and there but these days whenever anyone hears Cat-Man, they either think you mean a suspiciously similar DC Comics character (not Batman, actual Catman) or that you mistakenly meant Catwoman.

However, Cat-Man and Kitten are BACK, everyone! Stay tuned for my re-imagining of the characters in an over-sized one-shot issue!

"One Night" Comic Anthology Script

Not every pitch gets picked. Rejection is a regular part of the journey. It sucks, you never truly get used to it, and it can send you into a spiral of insecurity. I don’t really have much of a follow up there. It’s a thing that happens a lot. So anyway, here’s a rejected pitch I made a few years ago for the Pub Crawl Anthology.

The anthology called for stories whose only requirement was that it took place, at least in part, at a bar. It could be any genre, feature any theme, take place at any time, but had to have a scene at some sort of drinking establishment. In coming up with the concept, I decided to be really ambitious and go a little meta. So many stories take place in a bar, so many different people having their own little self-contained tales. What if this story told all of them at once, taking the POV not of the characters but of the bar itself?

The entire story takes place during one night at a bar and features a number of different storylines that begin and end at staggered intervals as the night progresses. Each storyline takes place in its own panel, and as new storylines begin, the panels per page increases. As they end, the panels per page decreases. For example, Page 1 is a splash page and begins one storyline; Page 2 features 3 panels and 3 storylines (2 new storylines and the continuation of the 1 from the previous page); and so forth.

Fun fact: I wrote this entire script during an overnight train ride from Los Angeles to Portland, Oregon. It was magical.



PAGE 1

Panel 1:
Full Page Splash of the interior to Wilson’s Bar. Near the top of the page is the entrance, the heavy wooden door in the middle of swinging back shut. A small podium and stool for the bouncer (currently unoccupied) stands to the left of the door. A series of tables are the left of the page—the dining area—while to the right of the page is the bar itself, a line of stools in front. The middle area remains more open for people to linger about and easily make their way to the back. Toward the bottom right of the page we see a few high top tables for people that want to sit and drink but not necessarily formally sit and dine; the entrance to the kitchen to the left. Finally, a wall of doors that lead to an outside area is at the very bottom of the page.

BARTENDER MARTY—20-something year old with messy hair wearing jeans and a button up plaid shirt—walk from the entrance toward the bar, where MARI—also in her mid-20s and attractive—currently bartends, black apron over her clothes. Mari smiles and waves at Marty. It’s early, so only a few patrons are scattered about.

Of note: A MAN drinks by himself at the bar—early 30s, dressed very casually (part of a storyline that begins on Page 2). A younger guy—early 20s, dressed in a nice shirt with styled hair—waits at one of the dining tables texting on his phone (part of a another storyline that begins on Page 2).

Caption: Wilson’s Bar. 7pm.

Marty: Mari! Ready to rock it?

Mari: Only till 11. I’m getting off “early” tonight. You got this, though.

Marty: Always do.

TITLES & CREDITS



PAGE 2

Panel 1:
Behind the bar, Marty—now in a black apron—prepares a drink order for a customer, a cocktail shaker already in one hand as he reaches for a bottle of dark liquor with the other. The customer rests one arm on the bar as he waits for his drink and chats with Marty.

Marty: It’s definitely one of my favs here. Smokey taste. More spirit forward.

Panel 2:
BEGIN DRINKING ALONE storyline. This panel focuses on the guy from the previous panel drinking alone at the bar. He sits on a stool and downs the last of his beer. Mari places another beer on top of a coaster in front of him.

Panel 3:
BEGIN FIRST DATE storyline. The younger guy at the dining table from the previous page half stands, that awkward position of having gotten up to welcome his date. He slips his cellphone back into his pocket with one hand and is in the process of reaching across the table with his other. ASHLEY—dressed in a nice top and skirt—stands on the other side of the table, having just arrived. She mid-laugh and leans toward him, her outstretched hand not quite there yet. It’s that self-conscious moment of meeting someone for the first time in person after messaging back and forth a few times on a dating app.

Ashley: John?

John: Yes! Ashley, hi.

Ashley: Sorry I’m late. I wa—

John: Oh, it’s no prob—Sorry. Go ahead.

Ashley: Hahaha. I was just going to say that I was stuck in “train traffic.” Whatever that is.

John: Oh my god! Yes!



PAGE 3
It’s a little later into the night and more people have begun to show up to the bar. We see a few more random people sitting at the bar and more people in the background of different panels. It’s not packed but a little busier.

Panel 1:
At the bar, Marty and Mari take drink orders from a few people. Near the front, but not yet ordering, we see a HUSBAND in his mid- to late-40s (part of another storyline beginning on this page). He’s decently dressed, long-sleeved button up and a tie, no jacket, and dark jeans. He looks slightly tired. We also see a PICK-UP ARTIST at the bar. Very smarmy looking, drink in hand, eyes checking out the women in the area. Note: He will be popping in and out of other storylines as we continue.

Drink Order to Marty: A vodka soda and a Blue Moon, please.

Drink Order to Mari: Can I try that Brickstone IPA?

Panel 2:
A friend arrives to meet the guy “drinking alone.” Small revelation but he wasn’t just a guy drinking by himself on a busy night. He was just waiting for someone.

Friend: Hey man! Sorry I’m late. Train delay. Ready to go? Next showing of Hyperdriver starts in 15.

Drinking Alone Guy: Way ahead of you. Already closed out and already got tickets!

Panel 3:
The first date between John and Ashley is going well. They’re both leaning toward each other, John with one elbow on the table, palm upward as he talks. Ashley’s crossed legs extend out slightly and subtly toward John and a real smile plays on her face.

John: —moved here about 2 years ago for the job. So, I like it. In this city especially, real estate is a good business to be in, you know? What about you? You’re in marketing, right?

Ashley: Ad design. I went to school for graphic design but didn’t want to go full starving artist. I got into it figuring it would pay well but I ended up really enjoying it. It’s way more creative than I—

Panel 4:
BEGIN ROCKY MARRIAGE storyline. Note: This entire storyline plays out silently. It’s all in the body language, a stark contrast to first date. Where John and Ashley are two people finding their magic, these two unfortunately have mostly lost it. A WIFE in her mid-40s sits at a dining table waiting for her husband to return with their drinks. She’s dressed nicely, in a form fitting dress. Although her arms are crossed, she doesn’t appear angry, just contemplative.



PAGE 4
It’s much, much busier now. It’s the busiest point in the night and there should be quite a few people in the background eating, drinking, and having a good time. That said, there’s a lot of panels on this page, so totally understandable if there aren’t a lot of wide, large panels showing a ton of people.

Panel 1:
A large crowd at the bar. Marty and Mari are mixing and pouring drinks. They’re working hard. Among the crowd, we see John, very happy with how the night is going. We also see two people in business casual outfits (leaning more toward casual than business). They are part of another storyline starting on this page focusing on an after-work hangout.

John: Glass of white and a Dark n’ Stormy.

Voice in Crowd: Two Jack and cokes, a mule, and a gin martini.

Voice in Crowd: Just an Old Fashioned, thanks.

Panel 2:
Ashley rolls her eyes and crosses her arms. At her and John’s table is the Pick-Up Artist from the previous page. He clearly just attempted to hit on her and she isn’t having any of it.

Pick-Up Artist: If I was your date, I’d never leave you by yourself.

Panel 3:
The Husband and Wife eat dinner in total silence. They’re both slouched a bit in their chairs and while their upper bodies appear to be leaning toward each other since they both have their elbows on their table, unlike with John and Ashley, their lower bodies are pulled back into their seats. The Wife pokes at her food with her fork.

Panel 4:
BEGIN AFTER WORK HANGOUT storyline. A group of co-workers drink and laugh and hangout. Two of them are currently in Panel 1 ordering at the bar, but the key characters are two women, Jill and Allie. These are two co-workers that are clearly interested in each other but at the moment they are talking to different people on opposite ends of the group. A co-worker and Jill discuss their supervisor while another co-worker attempts to play matchmaker with Allie, who has gone wide-eyed.

Co-Worker 1: Can you believe him in that meeting today? How did he get put in charge of that project? How?

Jill: Oh my god, I know. He’s such an ass-kisser.

Co-Worker 2: —think about Jill?

Allie: Jill? I mean, she’s, you know, I like Jill. I think she’s—

Panel 5:
BEGIN GIRLS’ NIGHT storyline. A group of girls getting ready for a night of drinks and fun at the high top tables. They are in the process of taking their coats off and hanging their purses on the backs of their chairs.

Girl 1: First round’s on me and we’re doing shots.

Girl 2: Tamara… no.

Girl 1: Tamara, yes!

Panel 6:
BEGIN NERDY GUYS storyline. A quick done-in-one storyline. A group of three nerdy friends hang out at the high tops. They just came from watching Hyperdriver and are having a few drinks and talking about the movie.

Guy 1: They’re in space! Why drive in a straight line? It doesn’t make sense is all I’m saying!

Guy 2: It’s a movie called Hyperdriver! It doesn’t have to make sense!

Panel 7:
BEGIN HOOK-UP storyline. Two strangers near the bar. One sits on a bar stool. They other stands next to them. They’re both smiling and chatting with each other.

Stranger 1: —come here often?



PAGE 5
We’re still around the busy time but now on the downswing. There are fewer people than the previous page but things are still rather busy throughout the bar.

Panel 1:
At the bar, Marty pours shots as Mari hands someone their check while taking another order from someone holding out their credit card. Two other co-workers are in line waiting to order.

Marty: You guys don’t actually have to form a line! It’s better if you spread out! Thank you!

Voice in Crowd: A whiskey ginger, please? House whiskey is fine.

Panel 2:
John and Ashley have finished their date. They walk toward the entrance very close, side by side. Ashley touches John’s arm.

Ashley: This was really great. Do you—we should do this again.

John: Definitely! I mean, that’d be great.

Panel 3:
The Husband and Wife sit awkwardly. The Husband’s glass is empty but the Wife continues to sip at his whiskey on the rocks. They both are leaned back in their chairs. Again their body language says everything.

Wife: [Sigh...]

Panel 4:
The co-worker hangout continues. There are maybe one or two fewer people than before. Jill and Allie are now closer together but still not next to each other. Co-worker 2 has moved from Allie to Jill, still playing matchmaker. Co-Worker 1 from the previous page has moved onto others, still complaining about his supervisor. Allie sips her drink but eyes Jill. She’s gathering her liquid courage.

Co-Worker 2: (whispering) Think you’re going to talk to her tonight?

Jill: (whispering) Shut up! She’s gonna hear you!

Co-Worker 1: —believe him in that meeting today? How did—

Panel 5:
The girls’ night group have several empty shot glasses at their table. Some are drinking mixed drinks, others have beer. They’re having a great time. The Pick-Up Artist approaches their table from off to the side.

Girl 3: I swear to god, if another asshole bothers us tonight...

Panel 6:
The two strangers from the hook-up storyline make out with each other in a corner of the bar.



PAGE 6
It’s drawing much closer to close. The bar has finally calmed down and there are a lot fewer people around.

Panel 1:
Marty works the bar by himself. Mari’s shift ended a little while ago. There’s only a few people at the bar, one or two placing drinks. The others closing out their tabs. As Marty hands a check to one customer, he talks with another.

Marty: What’s up, Milo? Rum and coke?

Milo: Yup!

Marty: Coming up. On me.

Panel 2:
The co-worker hangout has dwindled considerably. Jill and Allie are finally talking. Co-Worker 2 smiles to themselves as they talk to Co-Worker 1.

Jill: Hey! Finally getting to talk.

Allie: I know! Down for one more round?

Jill: That’d be great.

Co-Worker 1: Like, how did he even get in charge of that, you know? Makes zero sense.

Panel 3:
The girls’ night out group hug each other as they get ready to leave.

Girl 1: You guys are wonderful and beautiful! Keep CRUSHIN’ IT! See you lovelies next week!

Panel 4:
The Pick-Up Artist makes one last attempt at hitting on a girl closing out her tab. She doesn’t even look at him as she signs the check.

Pick-Up Artist: You pick up the check and I can pick up you.

Girl: Um, no.



PAGE 7

Panel 1:
The bar is practically empty as Marty starts clean-up. A person at the bar leaves behind a good tip as they close out.

Panel 2:
The Pick-Up Artist exits the bar, alone. He doesn’t look angry or sad. He’s actually smiling. The key takeaway from him is that he isn’t harassing the same girl all night, he isn’t a woman-hater. He’s just shooting his shot with every girl and when they turn him down, he’s just moving on to the next. He’s cheesy, not creepy.

Panel 3:
Jill and Allie are the only two left. They’re sitting close together, both grinning at each other. Allie has her arm around the back of Jill’s chair.

Allie: Want to get a drink again tomorrow? Maybe without everyone else?

Jill: Maybe at my place?



PAGE 8

Panel 1:
Full Page Splash of the empty Wilson’s bar, save for Marty. It’s closing time, and all the patrons are gone. The chairs are turned up onto the tables and the bar has been wiped down and cleaned. As Marty heads out the front, he flicks off the lights.

Caption: Wilson’s Bar. 2am.

END

Fury One-Shot Issue

This was the first comic script I ever wrote. The formatting is slightly different from how I tend to write scripts now but overall I’m still pretty proud of this one and wanted to share it, especially since there is zero chance of it ever getting made or published.

I originally wrote this for fun (never actually pitched) as a one-shot issue for the long-since-cancelled DC Comics series Earth-2. A bit of backstory for context, Earth-2 took place on an Earth where an altered history led to different versions of heroes like Superman, Batman, and—most importantly for this story—Wonder Woman. In the actual series, they introduced a character named Fury, an Amazon that served the forces of Darkseid.

At the time, all we knew about Fury was that she was the daughter of Wonder Woman. DC hadn’t come up with a full backstory for the character or determined who her father was. So, I wanted to explore an answer to that question while fleshing out the character’s past and personality.

The issue takes place during a war between Earth and Apokolips (Darkseid’s dominion) that was happening at the time.



PAGE 1

Panel 1:
Caption: Themyscira. Years Ago.

Caption Box (upper left): “I remember blood...”

We are looking through the eyes of an 8-year-old girl, who stares at her shaking blood-splattered hands. Through the gaps in her spread fingers an out of focus battle rages—Amazons against Apokoliptians.

Panel 2:
Caption Box (upper left): “It is my earliest memory...”

We are still looking through her eyes, but the hands have lowered. We see them at the bottom of the panel, about to be dropped away completely. The battle is now more in focus, but the edges of her vision are blurry from the tears and everything is just a little too bright. We see dead bodies, we hear screams.

Panel 3:
Caption Box (upper left): “The only remnant of a life from long ago.”

The hands have dropped away completely. The battle continues on but the brightness has increased even more. A large man (this will be Steppenwolf, but it shouldn’t necessarily be obvious) has just impaled an Amazon and his gaze has turned toward the girl. He is taking a step toward her.

Panel 4:
Caption Box (upper left): “It is my earliest memory... “

The brightness has overwhelmed the panel, we can no longer see the battle—only bright white, but if you look closely enough, there is a shadow in the center, the shadow of the man, moving closer to the girl.

Caption Box (lower right): “…but not my most vivid. Not the one that still haunts me.”



PAGE 2-3

Double Page Splash
Caption: Metropolis. Present Day.

We’re now in present day. We’re watching from the bottom quarter of the left hand page at a diagonal angle—to Fury, who stands tall atop a small pile of rubble on the right hand side of the shot. Her posture is strong, confident; her face impassive. She grips her lasso/whip in her right hand. We see two dead bodies in front of her—one closer to her and on their back, the other a few feet further away, face down. Beyond those bodies, continuing into the left side of the shot, we see World Army soldiers running toward her, guns at the ready. Destruction is all around them. In the very bottom, left hand corner of the shot we see the head of a soldier behind a broken wall. His eyes are full of terror.

CREDITS



PAGE 4

Panel 1:
Fury’s lasso extends out, taut, wrapped around the neck of one of the soldiers. Her stance has changed, braced for a pull. Her right leg has shifted to the back. Her knees are bent slightly, muscles on both legs tense. Her right hand tightly grips the end of the lasso and her left hand holds it further up, toward the captured soldier.

Panel 2:
The captured soldier is in the air, flying toward Fury, while his cohorts have halted and begun to raises their guns to take aim at her. Panic fills the man’s eyes.

Panel 3:
Fury has the man held as a human shield, facing toward his allies who were about to open fire but who now hesitate. Fear is etched on his face. Fury’s left arm is wrapped around his neck in a headlock. Her right hand grips the back of his shirt.



PAGE 5

Panel 1:
Taking advantage of the World’s Army’s brief moment of hesitation, Fury has casually snapped her hostage’s neck and tossed the body aside in one fluid movement. The body is in mid-fall, but she has already started to leap toward the rest of the soldiers.

Caption Box: “No, the thing that still haunts me... “

Panel 2:
We’re watching now from behind the gathered soldiers, who look up scared. Fury rockets toward them, face scowling. In the background, we see the dead soldier on the floor.

Caption Box: “...the image that I still see when I close my eyes...”

Panel 3:
We see the smiling lower half of a woman’s face (Barda’s to be exact, but at this point, she’s much younger than she is now). It is a sickly sadistic smile. One of joy, but a joy that comes from the pain of others.

Caption Box: "...is her smile.”



PAGE 6

Panel 1:
Caption: Apokolips. Years Ago.

We're now in the past, years ago, on Apokolips at Granny Goodness' "Orphanage." It's only been about 6 months since Fury first arrived. In front of us, a crowd of kids, ranging from 8 to 13 are gathered in a disorganized circle around two others fighting in the center. The crowd is cheering in excitement. We can’t fully see the two people in the center yet, just bits and pieces through the crowd, but for reference: an older girl (Barda, about 11 years old) straddles an 10 year old boy that she is mercilessly beating, all while wearing that same smile from the previous panel.

Caption Box: “Her name was Barda.”

Panel 2:
We see a close up of Barda’s arm and fist, having just connected another hit. Blood flies.

Caption Box: “I do not remember my name, but it didn’t matter.”

Panel 3:
Another image of Barda connecting another punch. This time we can see the blood on her knuckles.

Caption Box: “Because there, we didn’t have names.”

Panel 4:
A shot of the crowd, cheering faces all around—all except for one. A young Fury watches on with a mixture of disgust and enjoyment in her eyes.

Caption Box: “Not until we earned them.”

Panel 5:
Now we see Barda in all her sadistic glory. The boy underneath her has been beaten unconscious. Her eyes are wild with excitement, focused on Fury in the crowd, and she is smiling that exact smile from the last panel on the previous page.

Caption Box: “Barda was a few years older than I.”

Panel 6:
Close up on Fury. She is torn and conflicted. She is fighting feeling the same way the crowd does. She wants to feel disgust, but part of her is finding as much pleasure in the fight as Barda.

Caption Box: “And had already earned her name long ago.”



PAGE 7

Panel 1:
Caption Box: “Life in Granny Goodness’ Orphanage was defined by violence.”

The other kids have started to disperse, some bored now that the fight is over, others still thrilled and excited, chatting with one another with bloodlust-filled eyes. The unconscious boy is being dragged away by Apokoliptian guards. Fury watches as his body edges off the panel. Barda stands with her arms crossed, looking on, a smirk playing on her lips. Besides her stand three others—a blonde girl, Silaya, approximately 10 years old, stands the closest to her and wears the same smile Barda does. There is a boy, about 12, face impassive and emotionless. And finally, another girl, green hair, sharp nails scratching lightly against her own face. Off in the distance, up on a walkway, we see a pleased Granny Goodness looking on.

Panel 2:
Caption Box: “Our days were filled with brutality...”

We see a guard whipping one of the older kids, lashing tearing through the shirt and cutting into their back. Granny Goodness stands in front, arms behind her back like a military general, addressing the other children. Barda and her crew are in the front. Fury in the middle of the crowd of kids.

Granny Goodness: “If you wish to steal, do not get caught! Failure is not tolerated.”

Panel 3:
Caption Box: “...training...”

The kids are in an open area, sparing against one another. These fights are not friendly competitions. They are brutal and violent. They are each trying to prove themselves. While one group spars, the others watch on. Currently, we see the green-haired girl fighting against a young Scott Free. She is slashing at him with her claws, but he has slipped right by her. Granny Goodness addresses the crowd from across the sparing ground. Beside her stands Barda.

Granny Goodness: “Through strength you show your worth! Weakness is worthless.”

Panel 4:
Caption Box: “... and torture.”

We see Fury strapped to a table. There is a device around her head that looks like a silver headband with wires coming out and leading to a machine in the back. Around the machine gathers two Apokoliptian scientists (one can even be Desaad). They are observing a screen where we see a young Fury on Paradise Island. The current Fury is being electrocuted and is grinding her teeth together in pain. Her arms are tensed and her fists are clenched. Granny Goodness stands next to her.

Granny Goodness: “Your past life is meaningless. The only life that matters is your new one.”



PAGE 8

Panel 1:
Caption Box: “That was the life I knew for two years. Until I was 10 years old...”

We’re focused on an older Fury, standing amongst other kids. She’s holding a staff and wearing light clothing: cloth pants and a ragged cloth shirt.

Granny Goodness (Off Panel): “You have seen and you have heard. Now you will show us what you have learned.”

Panel 2:
Caption Box: “...when I was old enough to participate in the training...”

We’ve pulled back from focusing on Fury to see all the rest of the kids around her as well. They’re all dressed the same as she and are holding staves. Granny is once again addressing them with Barda by her side. Barda is now 13—her clothes are of a finer material. Still cloth, but not torn or ripped.

Granny Goodness: “You will prove yourself, and if you are worthy enough, you may even gain Patronage from one of Lord Darkseid’s elite.”

Panel 3:
Closer now on Granny and Barda. Granny’s hand is on Barda’s shoulder, and the girl stands proudly.

Granny Goodness: “Like my Barda here—who now gets the pleasure of choosing the first match.”

Panel 4:
Barda smirks, pointing into the crowd, directly at Fury.

Panel 5:
We’re on Fury now, gripping her staff tighter, eyes hard. She attempts to maintain a tough exterior, but inside, she is terrified—not only of the fight, but of enjoying it as much as she knows Barda will.

Granny Goodness (Off Panel): “Excellent. And who shall be her opponent?”

Panel 6:
Caption Box: “...and Barda got the chance she had been waiting for.”

Back on Barda. She’s no longer point, but her infamous smile as returned and there is an unmistakable gleam in her eye.

Barda: “Me.”



PAGE 9

Panel 1:
The two girls stand at the ready. Fury is in a fighting stance—one leg back, knees bent, staff gripped in her hands and angled at her opponent. Barda, however, stands facing directly at her. She holds her staff in one hand, the length of it running up the back of her arm. The smile is still on her face.

Panel 2:
Fury charges at Barda, staff pulled back and ready for a swing. Barda still hasn’t moved from her previous position and is still smiling.

Captain Box: “I remember the way my blood boiled during the fight.”

Panel 3:
Barda blocks the attack and throws a punch at Fury’s face, which she barely dodges. Again, Barda still smiles.

Caption Box: “I remember the joy I started to feel.”

Panel 4:
The fight rages. Attacks and blocks. We’re on Barda here, pressing her attack on Fury. She is ecstatic.

Caption Box: “I remember seeing Barda’s face...”

Panel 5:
The fight rages. Attacks and blocks. Now we’re on Fury going wild, getting more and more into it as she goes. We see a smile creeping onto her face, a glint growing in her eye.

Caption Box: “...and seeing my own joy reflected there.”



PAGE 10

Panel 1:
The fight rages. Attacks and blocks. The smile has faded from Fury’s face. We see her hesitate on an attack.

Caption Box: “I remember being weak, and fighting against it...”

Panel 2:
We’re on Barda. The smile is also gone from her face, replaced with a scowl. Her staff is cracking hard against Fury’s back.

Barda: “Worthless.”

Panel 3:
Barda’s staff cracks against Fury’s head.

Caption Box: “...and the pain that followed.”

Panel 4:
Fury on the ground passing out. Barda stands above her, looking down on her, smiling once again.

Panel 5:
We’re in Fury’s POV and are focused directly on Barda’s smile, but her vision is fading, so the edges are growing dark.

Panel 6:
Black Panel.



PAGE 11

Panel 1:
We’re back on the sparing grounds on a different day. Fury is about the fight again, but this time she’s facing off against Silaya, the blonde girl that is part of Barda’s group. Like Barda, she smiles often, but unlike her, not always, and she does it out of a need to please Barda, not because she is truly enjoying the fight.

Caption Box: “From then on, Barda didn’t fight me herself.”

Panel 2:
Silaya is punching Fury in the gut. The younger girl is doubled over in pain. Barda watches on, smiling as always.

Caption Box: “She instead sent her own protégé after me: Silaya.”

Panel 3:
Another day. Another fight. This time, Silaya has Fury is a headlock and is cutting off her air. The younger girl is futility struggling to free herself. Barda still watches on.

Caption Box: “For weeks, she beat on me.”

Panel 4:
Silaya is on top of Fury, punching her in the jaw. There is a cut above Fury’s eye already.

Caption Box: “Growing more and more brutal.”

Panel 5:
Caption Box: “Until...”

We’re moments after the last fight from the previous panel. Fury is struggling to get up. The cut above her eye is bleeding, and blood drips from the corner of her mouth. Barda stands above her, arms crossed, with Silaya by her side. Both of them look down at Fury.

Barda: “Next time, break her arm.”



PAGE 12

Panel 1:
It’s later in the day. There’s gauze covering the cut above Fury’s eye. She’s walking back to her room through the hallways of the orphanage. Around her are other kids as well.

Panel 2:
Fury comes to a stop. She’s looking at something off panel. Eyes wide with fear.

Panel 3:
There stands Silaya, Barda and the rest of their crew—the boy with the impassive face and the girl with the green hair and claws. Silaya stands in front, hands on her hips. Around them, the other students have stopped moving, and are all anticipating a fight.

Silaya: “Tomorrow’s too far away.”

Panel 4:
Silaya lunges and tackles Fury, who struggles but doesn’t immediately fight back.

Fury: “No!”

Panel 5:
Fury is on her stomach on the ground. Silaya is on Fury’s back and has the girl’s arm locked and pulled back. She is grinning maliciously. Fury is looking up at the off panel Barda, pleading.

Fury: “Please no! Don’t! Please!”

Panel 6:
Barda looks down her, simply smiling.



PAGE 13

Panel 1:
Focus on Fury’s face, eyes clenched shut, waiting for the pain.

Caption Box: “I don’t know why, but at that moment, I thought of my parents...”

Panel 2:
Caption Box: “...and could not remember what they looked like.”

We see bare outlines of two people. The image is murky and blurry. There are small details, maybe some hair color, but we cannot see their faces at all. For reference, we’re looking at Wonder Woman and Orion, but Fury does not know this.

Panel 3:
We’re back on Fury, eyes still clenched. Her arm is strained to the breaking point. Around her, other kids are cheering and shouting.

Caption Box: “I cannot recall my parents’ faces, but I know who they are.”

Panel 4:
We see the Roman God of War, Mars, with a faceless, young Wonder Woman by his side.

Caption Box: “My mother: the Daughter of War.”

Panel 5:
We see Darkseid with Orion facing away from him so we cannot see his face.

Caption Box: “My father: the Son of Darkseid.”

Panel 6:
Caption Box: “I am the child of War and Rage.”

Back close on Fury’s face. Her eyes are now clenched in growing anger. A tear rolls down her cheek.

Caption Box: “My blood screams for violence.”

Panel 7:
Caption Box: “And finally, I answered it’s call.”

Fury’s eyes have popped open. There is rage and anger burning inside them. The power of the Gods has been released.



PAGE 14

Panel 1:
Fury screams in anger and tosses Silaya off of her. The girl crashes hard against the wall.

Panel 2:
Fury rises, smiling wickedly. Her eyes are different—hungry, excited. Silaya is looking up at her, horrified at what she sees.

Panel 3:
Silaya lunges at Fury, throwing a wild punch in her direction. Fury simply moves aside and slams her fist into Silaya’s midsection.

Panel 4:
Fury scowls and tosses the winded Silaya to the floor.



PAGE 15

Panel 1:
Face still twisted in anger, Fury kneels, pressing one of her knees into Silaya’s back and grabs one of the girl’s arms in a lock.

Panel 2:
Silaya’s arm is tense and strained. She is screaming underneath Fury, who is looking up at Barda, who is currently off panel.

Silaya: “Ahhhh! No! Barda! Help me, please!”

Panel 3:
Close on Barda. She stares back at Fury, smiling her smile and making no move to assist Silaya.

Panel 4:
We’re focused solely on Fury, who smiles widely. Her body has shifted slightly. There is a loud crack and a piercing scream from an off-panel Silaya.

Panel 5:
Caption Box: “That was the day I earned my name.”

Fury has stood back up in front of Barda, still smiling and leaving a crying Silaya on the floor, clutching her broken arm. Around her, the other kids are cheering in excitement.

Panel 6:
Caption Box: “That was the day I became Fury.”

Back on Barda, whose smile has become even wider.



PAGE 16

Panel 1:
Caption Box: “From then on, Barda and I spared regularly.”

Fury and Barda face off against each other, both smiling, enjoying the thrill of battle, the violence.

Caption Box: “We fought others sometimes, but we were in a league of our own—violent and brutal, thrilling and joyful.”

Panel 2:
They trade blows while others watch on, cheering enthusiastically—all except one. Silaya watches them, furious.

Caption Box: “Silaya watched from the sidelines, seething, taking her anger out on younger kids.”

Panel 3:
We see Silaya viciously beating on a 9-year-old kid in the hallways. She isn’t smiling. She’s crazed—teeth clenched, eyes mad.

Caption Box: “Eventually, a year later, she demanded to fight me on the field.”

Panel 4:
Caption Box: “She lost...”

Fury smiles down at a badly beaten and unconscious Silaya.

Caption Box: “...badly.”

Panel 5:
Caption Box: “She tried to challenge me again, but Barda refused.”

Silaya points at Barda, cursing and yelling at her. Barda stands in front of her, arms crossed, her face twisted into a grimace.

Caption Box: “So she challenged Barda instead.”

Panel 6:
Caption Box: “They fought.”

Barda stands holding the lifeless body of Silaya by the neck with one hand. Blood drips down Silaya’s nose and the side of her face from a cut on her temple. The knuckles of Barda’s other hand are covered in blood.

Caption Box: “And Barda broke her neck.”



PAGE 17

Panel 1:
Caption Box: “One year and countless battles later, I gained Patronage.”

We’re in a throne room belonging to Steppenwolf. In the forefront stands Fury, older now (12, going on 13), dressed in fine clothing similar to what Barda wore when the two first fought. She’s standing proudly at attention, arms behind her back. In front of her is Steppenwolf in fully armor, helm removed. Granny Goodness stands off to the side, smiling happily at another successful student. Barda stands behind her, equally proud.

Steppenwolf: “I’ve had my eye on you a while. I always knew you had potential. What are you called?”

Fury: “Fury, Lord Steppenwolf.”

Steppenwolf: “I like that. Has a certain... directness to it. What would you say to being my protégé, my young Fury?”

Fury: “It would be an honor, my lord.”

Panel 2:
Steppenwolf is grinning joyfully. This is a moment he has waited for, for years now—ever since taking her from Paradise Island. Fury has clasped her fist over her heart and bowed before him.

Steppenwolf: “Excellent. It is done.”

Panel 3:
Steppenwolf: “Granny, what say we celebrate this occasion with an exhibition from your school’s two best students?”

Steppenwolf has turned toward Granny Goodness, hand sweeping out in a grand gesture. Granny grins back willingly. Barda has already started walking toward Fury.

Granny Goodness: “I believe that to be a grand idea.”

Panel 4:
Steppenwolf and Granny stand to the side to watch on as Barda and Fury face each other. They’re both in fighting stances and both smiling widely. Fury is thrilled and Barda is just as excited for her.



PAGE 18

Panel 1:
Caption Box: “Throughout the years, Barda and I continued to spar each other.”

Continuing from the scene in the throne room, Barda and Fury charging at each other about to connect blows, still smiling.

Panel 2:
Caption Box: “Never holding back, never pulling punches.”

Fury and Barda are a few years older (13 and 16), sparing again. The transition from the previous panel to this one should be seamlessly—like it’s the exact same fight, but a few years later. They’re in much better clothes, close to the costumes they wear in present day. In all these panels, they’re still smiling.

Panel 3:
Caption Box: “Sometimes nearly beating each other into unconsciousness.”

Continuing theme from previous panel, Fury and Barda are a now around 15 and 18. The transition from the previous panel to this one should be seamlessly—like it’s the exact same fight, but a few years later. They’re more bruised at this point, as it’s later in the fight. In all these panels, they’re still smiling.

Panel 4:
Caption Box: “Even after Barda graduated from the Orphanage...”

Last one. They’re 16 and 19. Barda is in her costume at this point, having left the Orphanage and now working at the Prison (where she will meet Scott Free).

Caption Box: “... we still fought.”

Panel 5:
Caption Box: “And Barda always won.”

These next panels are each reflections of the previous panels, only at the end of the fight—Barda always triumphant, either standing above Fury or helping her up. In all of them, both girls are smiling. Reflecting Panel 1, Barda and Fury in the throne room.

Panel 6:
These next panels are each reflections of the previous panels, only at the end of the fight—Barda always triumphant, either standing above Fury or helping her up. In all of them, both girls are smiling. Reflecting Panel 2, Barda and Fury at 13 and 16.

Panel 7:
These next panels are each reflections of the previous panels, only at the end of the fight—Barda always triumphant, either standing above Fury or helping her up. In all of them, both girls are smiling. Reflecting Panel 3, Barda and Fury at 15 and 18.

Panel 8:
These next panels are each reflections of the previous panels, only at the end of the fight—Barda always triumphant, either standing above Fury or helping her up. In all of them, both girls are smiling. Reflecting Panel 4, Barda and Fury at 16 and 19.



PAGE 19

Panel 1:
Caption Box: “Then the day before I graduated from the Orphanage...”

A close-up of a devastated Fury at 18, a mix of shock and confusion on her face, and an Apokoliptian soldier giving her the news.

Caption Box: “...I learned Barda had disappeared.”

Panel 2:
Caption Box: “Gone without word or warning.”

Soldier: "... escaped with a prisoner. Helped him break out."

Fury’s face turning from shock to anger. Rage burning in her eyes.

Caption Box: “That was the day the joy of battle left me.”

Panel 3:
Caption Box: “I had lost my past. I had lost my joy.”

Fury has started attacking the soldier, beating him mercilessly. Other soldiers try and stop her, but she continues to attack, tearing them apart. She is a wild animal, snarling in anger.

Caption Box: “And I had lost my friend.”

Panel 4:
Caption Box: “All I have now...”

Fury stands over the bodies of the Apokoliptian soldiers, face emotionless, but there is a definite sadness there, hidden in her eyes.

Caption Box: “...is my rage...”



PAGE 20

Splash Page
Present Day Fury standing amongst the destruction, dead World Army Soldiers surrounding her. Her face is emotionless, but there is a definite sadness there, hidden in her eyes. It’s the same expression from the previous panel. In the background, in the sky behind her, we see the ghostly image of the lower half of Barda’s smiling face.

Caption Box: “...and the memory of her smile.” 

END

Welcome to my site!

Hello and welcome! I created this site as a place to host all of my creative work, from the comic stories I have previously done (and those I still hope to do) to any scripts or prose that I just want to share with the world. Plus, the occasional related project from my professional career, pop culture podcast I happen to be a part of, or random rant related to something going on in entertainment.

The site’s broken down into two main sections.

“Comics” is where you can find galleries of my published comic book work. Along with the comic, each page includes the name of the publication the story appeared in, the artist I worked with on the project, and a short intro with a bit of background on the story.

A few of my comic stories are still under exclusivity windows, but as those windows close, I’ll be adding them to the site. However, I can provide links to these stories to any Publisher interested in checking out my full portfolio. I also have a number of comic pitches ready to go and share with any interested Publishers as well.

“Ramblings” features a variety of written content, including posts like this one that’ll provide any major updates or important site information. But the majority of posts I aim to share are fictional stories. Some will be prose, but many will be comic scripts. Breaking into any industry is tough but part of my passion for writing is the desire to share my stories with people. So, I wanted to do exactly that. From one-shots and shorts to possibly even limited series, I’ll be posting full scripts an issue at a time. I hope you enjoy them, and I appreciate any comments or feedback you may have.

And hey, if any artists get inspired and want to throw some fanart my way, I won’t complain. Heh.

The first script should be up by the time this site goes live, so feel free to check it out!