PAGE ONE
PANEL ONE:
Interior. Close up shot of an alarm clock.
SFX: BEEP BEEP BEEP BEEP
PANEL TWO:
Interior. Same shot. A hand gropes for the clock, missing it by a few inches to the left.
SFX: BEEP BEEP BEEP BEEP
PANEL THREE:
Interior. This time about a half a foot to the right, the hand again misses.
SFX: BEEP BEEP BEEP BEEP
PANEL FOUR:
Interior. The hand swipes the alarm clock off the nightstand.
SFX: BEEP BEEP BEEP BEEP
PANEL FIVE:
Interior. Roy Harper rolls onto his back in bed, wiping at his face. The clock is just visible on the floor, still beeping.
SFX: BEEP BEEP BEEP BEEP
PANEL SIX:
Interior. Lian runs into the darkened room, the door slamming open behind her.
SFX: BLAM!
1 LIAN:
PANEL SEVEN:
Interior.
2
PANEL EIGHT:
Interior. Lian shakes Roy, who is looking at her with one eye open, his face half-covered by the pillow.
3 LIAN: Nuh-UH! C’mon, it’s FRIDAY!
PAGE TWO
PANEL ONE:
Interior. A view of the kitchen of the Gordon’s apartment. Jim is at the stove, cooking. Barbara goes to the pantry, wearing boxers and a tanktop.
1 BABS: Happy Friday, Dad. What’s for breakfast?
2 JIM: Pancakes.
PANEL TWO:
Interior. Babs rummages through a pantry. Over her shoulder, we can see Jim’s back.
3 BABS: Cool, can we put CHOCOLATE CHIPS in them?
4 JIM: No.
PANEL THREE:
Interior. Babs walks over to her father, opening the chocolate chip bag. Jim has angled himself so that his back is blocking her way to the frying pan.
5 JIM: OK, seriously, we are NOT putting chocolate chips in the pancakes.
6 BABS: I’ve got news for you—
PANEL FOUR:
Interior. Babs leans over Jim’s left shoulder, raising her arms high and sprinkling chips into the batter.
7 BABS: -- oh yes we ARE.
8 JIM: Ahh! Those were HEALTHY, you know!
PANEL FIVE:
Interior. Babs grins mischievously, shrugging.
9 BABS: And now they’re DELICIOUS.
PANEL SIX:
Interior. Jim raises an eyebrow.
10 JIM: Are you saying that my pancakes are not delicious unless you add CHOCOLATE?
PANEL SEVEN:
Interior. Babs rushes out of the room, avoiding the question.
11 BABS: I’m gonna go get ready for SCHOOL, Dad.
12 BABS: See you in a few.
PANEL EIGHT:
Interior. Jim stands alone in the empty kitchen.
13 JIM: …
14 JIM: … I make perfectly GOOD pancakes.
PAGE THREE
PANEL ONE:
Interior. We see, as with last issue, the dark recess now recognizable as Kingpin’s office. Close on the phone.
SFX: RING RING, RING RING, RING RING
PANEL TWO:
Interior. Close of the phone against his ear.
1 FISK: Kingpin.
2 FISK: … slow DOWN, you imbecile, I can’t understand you… explain yourself!
PANEL THREE:
Interior. Silence reigns as Kingpin listens to the person on the other end of the line.
NO DIALOGUE
PANEL FOUR:
Interior. Fisk on the phone.
3 FISK: … I must admit, I did not see this coming. Take DETAILED notes, and keep me posted.
PAGE FOUR
PANEL ONE:
Exterior. The steps of the Gordon’s apartment building. Gordon is halfway down the stairs, Barbara right behind him, pushing. Gordon’s arms are raised.
1 BABS: Dad, we’re gonna be LATE!
2 JIM: We AREN’T going to be late.
PANEL TWO:
Interior. Jim is looking at a picture that he just drew from his briefcase. Babs leans over to look at it.
3 BABS: Oh, is that the teenaged girl that got KIDNAPPED?
4 JIM: Missing.
5 BABS: OK, “got missing.”
6 BABS: I read in the newspaper that you guys have NO leads, and it’s been, like, SIX WEEKS.
PANEL THREE:
Interior. Close-up, Jim looks straight at his daughter, who is amused.
7 JIM: Four days, we HAVE leads, and what paper was that, the BUGLE?
8 JIM: I told you to stop READING that.
9 BABS: No, I can’t, it’s like a TRAIN WRECK … or BAD REALITY TV.
PANEL FOUR:
Interior. Jim pinches the bridge of his nose.
10 JIM: Barbara, I’m SERIOUS. J.J. Jameson is a spiteful man who doesn’t know a HERO from a HADDOCK- I want you to stop reading that garbage.
11 BABS: You always say that, and yet, you never stop me.
12 JIM: It’s your money.
PANEL FIVE:
Interior. Babs kisses her father on the cheek.
13 BABS: I gotta go.
14 BABS: Have
a good day at work, Dad. And don’t forget to switch Turpin to DECAF around
PANEL SIX:
Exterior. Babs runs to catch up with friends entering the school. We see Jim’s wistful expression through the window of the cab.
NO DIALOGUE
PAGE FIVE
PANEL ONE:
Interior. The lobby of the YMCA.
1
PANEL TWO:
Interior. Oliver’s head pops out from within his office.
2 OLIVER: Excellent, come here. I wanna show you something.
PANEL THREE:
Interior.
3 OLIVER: LOOK at this!
4
5 OLIVER: Look at how FULL it is!
PANEL FOUR:
Interior. Close-up of the can.
6
PANEL FIVE:
Interior. Roy and Oliver.
7 OLIVER: I changed it only yesterday, and now it’s full! We don’t HAVE this many staffers!
8
9 OLIVER: It’s wasteful!
PAGE SIX
PANEL ONE:
Interior. Close-up of
1
PANEL TWO:
Interior. Oliver.
2 OLIVER: Well, then hopefully people who don’t want to reuse a paper cup won’t mind buying SPF 5000 for their grandkids when the rainforest is GONE, and the ozone layer is a DOILY, and the human race is bursting into FLAMES.
PANEL THREE:
Interior.
NO DIALOGUE
PANEL FOUR:
Interior.
3
4
5
PANEL FIVE:
Interior. Roy and Oliver.
6 OLIVER: Actually,
PANEL SIX:
Interior.
7
PAGE SEVEN
PANEL ONE:
Exterior. Two cops in uniform are in the middle of a debate. Behind them, a man with sharp features walks down the street.
1 FIRST COP: … no WAY is CAPTAIN KIRK cooler than HAN SOLO!
PANEL TWO:
Exterior. A close-up of the sharp featured man, Jack Napier, smirking. Over his shoulder, you can still see the cops arguing.
2 NAPIER [CAP]: THESE are the guys that are supposed to be watching me?
3 NAPIER [CAP]: I’d have a harder time sneaking away from BARNEY THE DINOSAUR.
PANEL THREE:
Exterior. As he rounds the street corner, the smirk becomes a terrifying grin.
4 NAPIER [CAP]: I’d say it was TOO EASY …
PANEL FOUR:
Exterior. Napier in profile as he walks.
5 NAPIER [CAP]: … but I don’t believe in JINXES.
PANEL FIVE:
Exterior. We see the back of Napier as he walks away from us into the afternoon sun.
6 NAPIER [CAP]: It’s time to FINISH the job.
PAGE EIGHT
PANEL ONE:
Interior, Midtown High in
1 CONNORS [CAP]: I’ve fought in
2 CONNORS [CAP]: Yet for a reason that still is elusive to me, I decided to dedicate my life to teaching science to teenagers.
PANEL TWO:
Interior. At the doorway to his darkened classroom, Connors flips on the light.
SFX: clik
PANEL THREE:
Interior. On the far side of the room, we see Peter hunched over a Bunsen burner, surrounded by volatile chemicals.
3 CONNERS: [off-panel] CHRIST, Parker, it’s a METH LAB in here!
PANEL FOUR:
Interior. Close-up of Peter’s hands as he fumbles with the materials.
4 PETER: [off-panel] Um, hey, Dr. Connors …
PANEL FIVE:
Interior. Connors fights back a smirk.
5 CONNORS: Hey YOURSELF.
6 CONNORS: Want to explain to me why you’re spending study hall ALONE in my lab without supervision?
PAGE NINE
PANEL ONE:
Interior. Peter takes his viscous gray concoction off the heat and pours it into a small metal canister.
1 PETER: Well, I was … um …
2 PETER: … you know how I’m a photographer?
PANEL TWO:
Inerior. Connors and Peter.
3 CONNORS: Yes, but I’m not seeing the correlation –
4 PETER: I was trying to make a SOLUTION for my EXPOSURES, because I didn’t have time to develop them and I need to be at the Bugle after SCHOOL, and –
PANEL THREE:
Interior. Connors.
5 CONNORS: Peter, you’re not allowed in the lab without SUPERVISION. You know that.
PANEL FOUR:
Interior. Peter makes a sweeping motion with his arm.
6 PETER: But you had a FACULTY MEETING, and –
PANEL FIVE:
Interior. Connors closes the door behind him as he leaves, sighing.
7 CONNORS: All right, Peter.
8 CONNORS: This had better be a ONE-TIME THING. Clean up. I’ll see you sixth period.
PANEL SIX:
Interior. Peter turns back to clean up his mess visibly relieved.
9 PETER [CAP]: Oh, man.
10 PETER [CAP]: Having
a teacher – ESPECIALLY Dr. Connors – catching me making WEB FLUID is somewhere
in the area below conquering
PANEL SEVEN:
Interior. Close-up on Peter, who looks concerned.
11 PETER [CAP)]: That was TOO CLOSE.
PAGE TEN
PANEL ONE:
Exterior. Large view of a
NO DIALOGUE
PANEL TWO:
Exterior. Out of an alleyway
NO DIALOGUE
PANEL THREE:
Exterior. The two walk in stride together, Jick gesturing to
1 JICK: Harper, man!
2 JICK: Haven’t seen YOU ‘round much.
3
4 JICK: Awww, what, two old buds can’t talk because Harper cut JUNK?
5
6
7 JICK: MGH? You think I can’t do BETTER’N that?
8 JICK: I got word –
PANEL FOUR:
Exterior. Roy slams Jick against a wall, grabbing him by the lapels of his jacket.
9 ROY: I SAID to LEAVE ME ALONE!
10 OLIVER: [off-panel] ROY!
PAGE ELEVEN
PANEL ONE:
Exterior. Close-up.
NO DIALOGUE
PANEL TWO:
Exterior. Oliver drags
1
2 OLIVER: I don’t want to hear it.
PANEL THREE:
Exterior.
3
PANEL FOUR:
Exterior. Oliver points an accusatory finger at
4 OLIVER: God, do you REMEMBER where you were a few months ago?
5
6
PANEL FIVE:
Exterior. Roy and Oliver, both gesticulating wildly.
7 OLIVER: That’s not what this is about!
8 OLIVER: I CAN’T have you BEATING UP kids on the street!
9
PANEL SIX:
Exterior. In a full-body shot that dominates the page, we see Oliver, angry, arms folded.
10 OLIVER: I have an IDEA.
11 OLIVER: And I DON’T want YOUR name added to the list. Next time you even THINK about raising those fists –-
12 OLIVER: -- you the HELL better OPEN UP YOUR MOUTH and TALK.
PANEL SEVEN:
Exterior. Close-up of Roy, who has turned his head to the side.
NO DIALOGUE
PAGE TWELVE
PANEL ONE:
Interior. Close-up of a MetroCard being swiped.
1 PETER [CAP]: Okay. Here’s a little karma test.
PANEL TWO:
Interior. Peter, one in a crowd in a subway station, makes his way towards the trains.
2 PETER [CAP]: All I want is to be able to get from school to work in relative peace.
PANEL THREE:
Interior. Within the crowd, there is an explosion of electricity, revealing a costumed man, Electro.
SFX: BZZT
SFX: FOOM!
3 ELECTRO: I am ELECTRO!
PANEL FOUR:
Interior. Peter runs against the flow of the crowd in order to get to the bathrooms.
4 PETER (CAP): Didn’t last two seconds. That’s gotta be a new record.
PANEL FIVE:
Interior. Electro laughs, delightedly causing mayhem.
SFX: HA HA HA HA HA HA HA HA
SFX: BZZT
PANEL SIX:
Interior. Spider-Man swings in, kicking Electro in the head.
5 SPIDEY: So, what’s YOUR major malfunction, Sparky?
PANEL SEVEN:
Interior. On the floor, Electro shoots a bolt at Spidey. Spidey, perched half on the ceiling and half on a support column, dodges the attack.
SFX: BZZT
6 SPIDEY: Jeez!
7 SPIDEY: Want to tone down the FORCE LIGHTNING a little there, EMPEROR PALPATINE?
PAGE THIRTEEN
PANEL ONE:
Interior. Electro shoots off more bolts.
SFX: BZZT
1 ELECTRO: I am ELECTRO!
2 SPIDEY: Yes, I got that bit already.
3 ELECTRO: The world with SCREAM my name in pain!
PANEL TWO:
Interior. Spidey shoots webbing onto Electro’s hands, covering them.
SFX: thwipp
4 SPIDEY: And terrorizing a SUBWAY STATION is the way to get there?
PANEL THREE:
Interior. Electro charges up, melting off the webbing.
SFX: FRZZZZ
5 ELECTRO: I will show you the FULL EXTENT of my powers!
PANEL FOUR:
Interior. Spidey has one hand behind his head, rubbing his neck.
6 SPIDEY: Can we do that some other time? Because I really need to catch my train.
PANEL FIVE:
Interior. Spidey and Electro.
7 ELECTRO: Stand and FIGHT, Spider-Man! I will NOT let you leave me!
8 SPIDEY: Then it appears we have a conflict of interests, doesn’t it?
PANEL SIX:
Interior. Electro shoots off a giant charge.
SFX: FRRRRRRRRRRRRRRRZZT!
9 ELECTRO: SCREAM!
PANEL SEVEN:
Interior. Large multi-image of Spider-Man dodging multiple electrical bombardments, hopping around the station.
10 SPIDEY: Why
do I always end up with the crazies? Is this a
11 SPIDEY: I’ll bet SHINING KNIGHT doesn’t have to deal with the crazies. Betcha five bucks.
12 SPIDEY: Villains
are sane in
13 ELECTRO: The only thing I will put money on, Spider-Man, is your IMMINENT DEMISE!
14 SPIDEY: Anyone ever tell you that you have a ONE-TRACK MIND?
PAGE FOURTEEN
PANEL ONE:
Interior. Establishing shot of Babs in her kitchen, halfway through making a sandwich.
NO DIALOGUE
PANEL TWO:
Interior. Babs licks her fingers, her head turning towards her front door.
SFX: nok nok nok
PANEL THREE:
Interior. Babs washes her hands.
1 BABS: One second!
PANEL FOUR:
Interior. Babs opens her front door, only the silhouette of her visitor visible.
2 BABS: Can I help y—-
PANEL FIVE:
Interior. Napier rushes the door, grabbing Babs and stuffing a chloroform-soaked rag over her mouth.
SFX: slam
3 BABS [CAP]: Stupid Babs! Didn’t even look through the goddamned PEEPHOLE before you opened the EFFING door …
PAGE FIFTEEN
PANEL ONE:
Interior. Babs hits the floor, unconscious.
1 CAPTION: There are 18 different animals in the Animal Cracker zoo.
PANEL TWO:
Interior. Napier goes into one of the closets, taking out a shoebox.
2 CAPTION: In the
PANEL THREE:
Interior. Napier takes a gun out of the box, grinning at Babs.
3 CAPTION: Every 40 seconds, a child is reported MISSING or ABDUCTED.
PANEL FOUR:
Interior. Cut to what appears to be an abandoned building. Napier is tying the still-unconscious Babs to a chair with duct tape.
4 CAPTION: And in the history of BAD DAYS, Barbara Gordon’s was quite suddenly shaping to be, like …
5 CAPTION: HINDENBURG bad.
PAGE SIXTEEN
PANEL ONE:
Exterior.
SFX: [with musical
notes] ba-ba
PANEL TWO:
Exterior. A close-up of the caller I.D., which reads “BABS CELL”
SFX: [with musical
notes] ba-ba
PANEL THREE:
Exterior. Jim grins, answering his phone.
1 JIM: Hey sweetheart, what’s up?
PANEL FOUR:
Exterior. Jim’s face falls into shock and horror.
2 NAPIER: [off-panel, burst] Oh, nothing much, Jimmy boy- just your classic case of REVENGE. Babsy’s fine, by the way.
3 NAPIER: [off-panel, burst] How’s YOUR day been?
PANEL FIVE:
Exterior. Close-up on Jim’s angry face.
4 JIM: Napier—-
5 NAPIER: [off-panel, burst] I was TALKING, honey buns. My day’s been fine, since you didn’t ask. Slipped my DETAIL, KIDNAPPED your daughter … pretty PEDESTRIAN stuff.
6 NAPIER: [off-panel, burst] Oh, by the way—you probably SHOULDN’T keep a loaded GUN in the house—ANYONE could get at it.
PANEL SIX:
Exterior. Jim, horrified.
7 JIM: Oh, God …
PANEL SEVEN:
Interior. Napier, in his abandoned building.
8 NAPIER: My friends call me JACK.
9 NAPIER: Now, Babs and I are just CHILLING over here, no big rush. I’ll WAIT for you before I do anything INTERESTING.
10 JIM: [off-panel, burst] If you HURT her … !
11 NAPIER: I’ll die a thousand HORRIBLE DEATHS, yes, yes.
12 NAPIER: Good luck FINDING us, Captain.
PANEL EIGHT:
Exterior. Jack grinning, superimposed over Jim, running down the street.
NO DIALOGUE
PAGE SEVENTEEN
PANEL ONE:
Interior, the Daily Bugle. J. Jonah Jameson is on the warpath.
1 JJ: I am you EDITOR, people! Do I LOOK like your MOMMY?
PANEL TWO:
Interior. Peter sneaks into the room, and tries to get to his desk unnoticed.
2 JJ: Well, I am NOT your mother or your hugger. If you need some love, get a HOOKER. If you’re having a BAD DAY, find a LEDGE or DEAL. My door is not open to you, EVER.
3 JJ: This is the GODDAMNED Daily Bugle!
PANEL THREE:
Interior. Peter winces as he’s discovered.
4 JJ: And – PARKER!
5 JJ: Have you been there the whole time?
PANEL FOUR:
Interior. Peter and JJ.
6 PETER [CAP]: Damn. For a guy with super secret spy spider powers, I really suck at the whole … sneaky thing.
7 PETER: I just got here.
8 JJ: I didn’t see you come in.
9 PETER: Well, I had my CLOAKING DEVICE activated, so -–
PANEL FIVE:
Interior. More of the same.
10 JJ: I don’t have time for you ATTIUDE, Parker. I needed you in the field about TEN MINUTES AGO.
11 PETER: Why, what’s happened?
12 JJ: Another girl’s been KIDNAPPED. This one’s a COP’S DAUGHTER.
13 PETER: Why do YOU care?
14 JJ: The kidnapped killed the WIFE a year ago, got off an a technicality, it’s not important. We ran the story the first time around, and I want a FOLLOW-UP.
PAGE EIGHTEEN
PANEL ONE:
Interior. Peter angrily points a finger at his boss.
1 PETER: Are you KIDDING me?!
2 PETER: A girl is MISSING, and all you can think about is selling your goddamned PAPER!
PANEL TWO:
Interior. Peter and JJ, both mad.
3 JJ: And if you ever want a paycheck from me, PARKER, you’ll get OUT there and get me my PAGE ONE, are we CLEAR?
PANEL THREE:
Interior. Peter walks out of the office, scowling.
4 PETER:
PANEL FOUR:
Exterior, the Bugle building rooftop. Peter is taking off his shirt, revealing his costume beneath.
5 PETER: If this isn’t the CHERRY OF CRUELTY on top of the SUNDAE OF DESPAIR that has been my DAY so far, I don’t know WHAT is.
PANEL FIVE:
Exterior. Spider-Man swings off.
6 SPIDEY: I’ll get him his stupid Page One.
PAGE NINETEEN
PANEL ONE:
Interior, the abandoned building. Babs is awake now, struggling against her bonds.
1 BABS: My dad’s gonna SAVE me, you know.
2 BABS: He’ll come after you if he has to go to the ENDS OF THE earth to do it.
3 NAPIER: That’s sort of the IDEA.
PANEL TWO:
Interior. Babs looks questioning, Napier is grinning.
4 BABS: Is it really WORTH this, Napier? You
could let me go, run for it. Live in
5 NAPIER: Finally. I was waiting for this.
6 BABS: For … what?
PANEL THREE:
Interior. Napier poses dramatically, hand across his forehead.
7 NAPIER: For the attempts to reach the INNATE GOODNESS that you’re sure must be lurking inside me somewhere, if you could only just REACH it!
PANEL FOUR:
Interior. Napier and Babs.
8 NAPIER: Save yourself the TROUBLE, sweet cakes. You can BABY-TALK me, you can PATRONIZE me, you can even THREATEN me … nothing you can say will sway me from my plan.
9 NAPIER: Mmmkay, pumpkin?
10 BABS: Then you DESERVE what you GET.
11 NAPIER: I’ll take that as a COMPLIMENT, even though I know you meant it to sound threatening.
PANEL FIVE:
Interior. Napier leans over her chair, and she leans back to evade him.
12 NAPIER: You know, this is supposed to be the part where the evil villain, having entwined the DAMNSEL IN DISTRESS in his web, taunts her SEXUALLY and displays his TONED FIGURE in an attempt to, ahem, get a RISE out of her.
13 NAPIER: Then your line should be something along the lines of “Get away from me, vile scoundrel, you’ll never get any satisfaction out of me!”
14 NAPIER: Then I’m supposed to toss my hair about, give an EVIL CACKLE, display my BARE CHEST shamelessly, and promise you a long, slow death full of SPIDERS and HOT POKERS and … oh, I don’t know …
15 NAPIER: … quicksand, perhaps.
PANEL SIX:
Interior. Napier grins.
16 NAPIER: Lucky for you, I’m not that kind of sick!
PANEL SEVEN:
Interior. Babs raises an eyebrow.
17 BABS: Are you ENJOYING yourself?
18 NAPIER: Oh, IMMENSELY.
PAGE TWENTY
PANEL ONE:
Exterior. Jim is still running.
1 JIM [CAP]: It was simple detective work, really.
2 JIM [CAP]: All I’d have to do was narrow down the list of possible locations until I found the one where Napier has Babs.
3 JIM [CAP]: Simple. Easy. They always return to the scene of the crime –- and the comedy club went under after the shootings. It wouldn’t have been hard for him to sneak into the empty building.
PANEL TWO:
Exterior. Jim puts his cell to his ear.
SFX: [with musical
notes] ba-ba
SFX: boop
4 JIM: Gordon. Talk to me.
PANEL THREE:
Interior, the police station. Turpin is on a land line, gesturing broadly.
5 TURPIN: JIM! Where in God’s name ARE you?
6 JIM: [off-panel, burst] Getting BACK my daughter.
7 TURPIN: This isn’t the way to DO it, Jim!
8 TURPIN: Tell me where you are. I can be there with a team in FIVE MINUTES.
PANEL FOUR:
Exterior. Jim is about to enter the old comedy club.
9 JIM: I don’t HAVE five minutes, and I don’t WANT a team. Just HIM and ME.
10 JIM: This ends NOW.
PANEL FIVE:
Interior. Turpin slams the phone down, turning to the officer next to him.
11 TURPIN: He HUNG UP on me!
12 TURPIN: Any bright ideas, Officer?
PANEL SIX:
Interior. The officer, looking nervous.
13 OFFICER 1: Well …
14 OFFICER 1: If Napier wanted a place to go, he’d … go back to where it started? That old club –-
15 OFFICER 1: -- where Sarah was killed.
page twenty-ONE
PANEL ONE:
Interior. Turpin addresses his squad.
1 TURPIN: Call the PARAMEDICS, and let’s get over here.
2 TURPIN: And I mean YESTERDAY!
PANEL TWO:
Interior. Close-up of another officer, who also looks nervous.
3 OFFICER 2: But … Captain Gordon said –-
PANEL THREE:
Interior. Turpin, angry.
4 TURPIN: FORGET what Captain Gordon said!
5 TURPIN: He’s too CLOSE to the situation, and I’M calling the shots here on in.
6 TURPIN: MOVE!
PANEL FOUR:
Exterior. Spidey swinging.
7 SPIDEY [CAP]: It was simple detective work, really.
PANEL FIVE:
Exterior. Spidey clings to the building opposite, watching Jim enter the razed club.
8 SPIDEY [CAP]: All I’d have to do was find Jim Gordon and FOLLOW him.
9 SPIDEY [CAP]: He’s where the ACTION is.
PAGE TWENTY-TWO
PANEL ONE:
Interior. Jim walks up stairs, gun drawn and at the ready, approaching a closed door.
1 BABS: [behind the door] … if you’re going to SHOOT me, then shoot me …
2 BABS: [behind the door] … I’m BORED of all this waiting.
PANEL TWO:
Interior. Close-up of Jim’s face—he’s furious.
3 NAPIER: [off-panel] All in DUE TIME, Buttercup.
PANEL THREE:
Interior. Jim kicks down the door, gun pointed at Napier.
4 BABS: DAD!
5 JIM: Get the HELL away from my daughter, Napier, or I SWEAR to GOD I’ll SHOOT YOU where you STAND!
PANEL FOUR:
Exterior. We see Spidey scaling the wall outside, approaching the window. Through the window, we can see Napier sauntering away from Babs, holding a gun. Jim’s firearm is still trained on Napier’s chest.
6 NAPIER: Jimmy! I was starting to wonder if you’d GIVEN UP.
7 NAPIER: Well, I wouldn’t get too TRIGGER-HAPPY,
8 NAPIER: I can shoot HER just as easily as you can ME.
9 BABS: Dad! Dad, come on. Chill out.
PANEL FIVE:
Interior. Jim points his gun straight at the “camera.”
10 JIM: Put.
11 JIM: The gun.
12 JIM: DOWN.
PANEL SIX:
Interior. Napier has his gun pointed at Jim.
13 NAPIER: No, I don’t think I will.
PANEL SEVEN:
Interior. Same shot, but Napier is now aiming at Babs.
14 NAPIER: In fact …
PAGE TWENTY-THREE
PANEL ONE:
Exterior. Spider-Man’s spider-sense activates.
NO DIALOGUE
PANEL TWO:
Interior. Spidey leaps, tackling Napier.
NO DIALOGUE
PANEL THREE:
Interior. Close-up of Jim’s gun as it fires.
SFX: BLAM!
PANEL FOUR:
Interior. Close-up of Napier’s
SFX: BLAM!
PANEL FIVE:
Interior. Babs’ back arches as she’s hit in the stomach.
SFX: sklik
1 BABS: AAAAAAAAAAAAAAAAAAAAAH!
PANEL SIX:
Interior. The room is suddenly flooded with cops and paramedics, led by Turpin. Spidey and Napier crash to the floor.
SFX: CRASH!
PANEL SEVEN:
Interior. Tears fall down Jim’s cheeks as he clutches his gun to his chest.
NO DIALOGUE
PAGE TWENTY-FOUR
PANEL ONE:
Interior. Turpin kneels beside Jim. Spidey sneaks out the window.
1 JIM: He’s gone TOO far this time, Dan. He MURDERED my wife. He just SHOT my daughter … my LITTLE GIRL …
2 TURPIN: Jim …
PANEL TWO:
Interior. Jim points his gun at the unconscious Napier’s forehead.
3 JIM: NO!
4 JIM: Too much … too far …
PANEL THREE:
Interior. Turpin’s hand is on Jim’s shoulder.
5 TURPIN: We’ve ALL gone too far. Look at him.
6 TURPIN: Look at US.
7 JIM: I can’t TAKE anymore …
PANEL FOUR:
Interior. Close-up of Turpin. His eyes are closed, and he has a pained look on his face.
8 TURPIN: … I won’t stop you.
PANEL FIVE:
Interior. A paramedic is untying Babs.
9 MEDIC: Barbara?
10 MEDIC: Barbara, sweetie, can you WIGGLE YOUR TOES for me?
11 BABS [CAP]: I’m sorry, I’m a bit preoccupied right now with being EATEN ALIVE.
PAGE TWENTY-FIVE:
PANEL ONE:
Interior. Babs and the paramedic.
1 BABS: It’s okay, I don’t FEEL anything –-
2 BABS [CAP]: -- liar, liar, pants on fire --
3 BABS: -- Let me go!
PANEL TWO:
Interior. Close-up of Babs, panicked, as she tries to get up.
NO DIALOGUE
PANEL THREE:
Interior. Close on Jim, looking to his daughter.
4 BABS: [off-panel] Daddy?
PANEL FOUR:
Interior. Close up on Babs, who looks terrified. She’s started crying.
5 BABS: Daddy, I can’t move my LEGS.