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JLA/PLANETARY: TERRA OCCULTA

An Elseworlds Story ...

Written by WARREN ELLIS
Illustrated by JERRY ORDWAY


Colors by DAVID BARON

48 pages

THIS IS A SCRIPT SAMPLE, containing the script for the first nine pages of art, supplied directly to this store by Warren Ellis.

DIAMOND ORDER CODE:
JUL02 0224

All material herein � and � DC COMICS INC, 2002.
PLANETARY created by Warren Ellis.

This material supplied for review only.

* http://www.warrenellis.com *
* http://www.DCcomics.com *

PAGE ONE

Pic 1;

We�ll do the titles and credits on the inside front cover, and get straight into it.

Full page panel:

DIANA PRINCE, in a black business suit and a gold top underneath the jacket, sits on a bench in parkland, writing in a black-wrapped journal.The sun is setting � lots of REDS dripped over the scene.

A few other people are visible moving around out here; kids, a family, people walking home from work � because we�re in Central Park, NYC.It�s just bigger than we know it.

LETTERER: Captions denoted as JOURNAL CAPTION are handwritten sentence case, Diana�s handwritten entries in her little book.

She�s writing them as letters to her mother.But her mother is dead.

JOURNAL CAPTION;������������ Mother,

There�s an eerie whistling in the background as I write this; a Flash passing by on a courier route.

Men and women move across this country like Hermes now, in pursuit of commerce.This is a fast world I live in now.

Fast and dark; a vicious undertow.

I want to go home.

PAGE TWO

Pic 1;

She stands up, slipping the journal into the purse by her side.

JOURNAL CAPTION;������������ But I can�t, of course.You know that as well as I do.Better than I do.

Pic 2;

Takes the path from her bench � we see she�s wearing high heels � starts to walk out of the park.

JOURNAL CAPTION;������������ I am trapped here in Man�s World, a civilisation I learned of through viewscreens.Nothing prepared me for the way this place feels.

Pic 3;

Walking through park gates out onto street

JOURNAL CAPTION;������������ The voices.This is a city of voices, of constant chatter.There is no song here, Mother.Only the tinny riot of untrained voices from their radios, and the clatter of their talk.

Pic 4;

�and a wheelless, floating Yellow Cab pulls up by her.In fact, all the traffic down this street is wheelless; all the cars look like cars, with a Fifties feel to them, but are hovercraft.She leans down to talk to the driver:

JOURNAL CAPTION;������������ I find myself longing for the days when their cars made noise.

DIANA;���������������������������������� GRAND CENTRAL STATION, PLEASE.

PAGE THREE

Pic 1;

Big pic, half the page, whacked out to bleed at top, left and right; the interior of Grand Central Station, seen from a point up in the rafters.But it�s not train platforms that people are streaming towards� it�s DOORS, the teleportation portals from THE AUTHORITY.

(no dialogue)

Pic 2;

Zoom down, to find Diana handing a ticket over to a GUARD (who looks at it as he accepts it) at an airport-style gate about ten feet away from one of the big Doors�

DIANA;���������������������������������� I HAVE A FIRST-CLASS TICKET TO GOTHAM, I WAS TOLD TO COME STRAIGHT THROUGH�?

GUARD:��������������������������������� THAT�S RIGHT, THIS IS THE FIRST-CLASS DOOR TO GOTHAM CITY.

GUARD;��������������������������������� JUST WALK STRAIGHT ON THROUGH INTO THE LIGHT, MS PRINCE, AND THANKS FOR TRAVELLING WITH PLANETARY DOORS.

Pic 3;

A little reluctant, she steps through the Door, vanishing where she touches its rippling gold glow�

FROM ABOVE (JAGGED); YOU ARE NOW LEAVING NEW YORK CITY.THANK YOU FOR TRAVELLING WITH

Pic 4;

�emerging on the other side in a far darker space.She looks up --

FROM ABOVE (JAGGED); PLANETARY PORTALS.YOU ARE NOW IN GOTHAM CITY.

PAGE FOUR

Pic 1;

-- at a doomy, dark station in the mode of Grand Central, but made out of black iron, all angles and alcoves, industrial and forbidding.We know we�re in Gotham City now because it looks like Hell� which isn�t helped by the fact that the COLOUR of the DOORS here is RED�

Doomed, beaten-looking people stream out from the Doors�

FROM ABOVE (JAGGED);����������� WELCOME TO GOTHAM CITY.

Pic 2;

She joins the stream.Against one wall of the great hall, people lurk in the shadow� the homeless� criminals waiting for a hook-up or a potential victim to follow�

(no dialogue)

Pic 3;

�and one thin guy, his eyes little points of light in a shadow-covered face� it�s THE DRUMMER, but we probably won�t get it�

(no dialogue)

Pic 4;

�until we pan down to see his hand, two drumsticks held in it and being tapped against the wall�

(no dialogue)

PAGE FIVE

Pic 1;

Big pic, again probably half the page.A business party.Everyone in black and white (again, I�m thinking Fifties stylings, but I�m definite in that everyone here is wearing black suits and white shirts, or black dresses with white trim, or� you get the idea.Diana will stand out because of the gold, and Bruce Wayne, whom we�re going to meet momentarily, will stand out because he wears a black suit and a black shirt, no tie.Keep highlights on the clothes to a minimum � I like the idea of them as a black mass).

The glass roof in this penthouse area shows a night sky through it.The mural on the wall is a huge WAYNE INDUSTRIES LOGO.

(no dialogue)

Pic 2;

Cut to; DR JULIUS ERDEL, an old scientist in a threadbare suit, runs a shaky hand through his Einstein hair, trying to explain something really terribly important to a bored young woman abandoned by her date and looking around for him.

ERDEL;���������������������������������� NO NO NO.YOU SEE, THE ORIGINAL TIMETRACK THEORY HAD IT THAT THE LOOP BEGINS AT THE POINT OF ACTIVATION AND PROCEEDS INTO THE FUTURE.

ERDEL;���������������������������������� HOWEVER, I AM CONVINCED THAT THERE MUST BE A GHOST LOOP BACKTRACKING FROM THE ACTIVATION POINT, AND --

WOMAN;������������������������������� -- AND BRUCE WAYNE PAYS FOR THIS?GOD, HE�S MORE STUPID THAN I THOUGHT.

Pic 3;

CUT TO; Diana, being doted on by a group of attentive middle-aged men who are trying not to get caught looking at her cleavage.

DIANA;���������������������������������� I DON�T FEEL COMFORTABLE WITH �INVENTOR�.I PREFER �TECHNOLOGIST�.IT FITS BETTER WITH WONDERDOME FUTURES� BACKGROUND AND GOALS.

DIANA;���������������������������������� NO, COLLIMATING STRUCTURE AND TESSERACT TECHNOLOGY ARE THINGS MY FAMILY HAD BEEN WORKING ON IN THEORY SINCE THE 1950�S.THANKFULLY, MR WAYNE�S MONEY --

Pic 4;

BRUCE WAYNE appears to one side of Diana, smiling quietly, a champagne glass in his hand.She gives him a dazzling smile.The guys around her look down, mutter, begin to move away.

BRUCE;���������������������������������� -- IS NEVER BETTER SPENT THAN ON DIANA PRINCE, AND HER WONDERS TO PERFORM.

DIANA;���������������������������������� MR WAYNE!

ONE OF THE GUYS:������������ Bruce

ANOTHER;���������������������������� Hello Bruce

AND ANOTHER;���������������� here comes Bruce to sink his claws in

AND YET ANOTHER;���������������� drunk too

PAGE SIX

Pic 1;

He sips his champagne, smiling, eyes on her.Her smile becomes broader, more knowing.

DIANA;���������������������������������� MR WAYNE?YOU LOOK LIKE YOU�RE WONDERING ABOUT SOMETHING.

BRUCE;���������������������������������� MM.

BRUCE;���������������������������������� I WAS WONDERING WHAT IT�D BE LIKE TO�

Pic 2;

He puts his glass down on a passing waitress� salver, not breaking eye contact with Diana; the waitress hears what he says, and stares wide-eyed at him.

BRUCE;���������������������������������� NO.LET ME PUT IT THIS WAY.

BRUCE;���������������������������������� I WAS WONDERING IF I COULD TAKE YOU HOME.

Pic 3;

Diana smiles a dirty smile back at Bruce.

DIANA;���������������������������������� I�VE ALWAYS WANTED TO SEE STATELY WAYNE MANOR.

Pic 4;

CUT TO; A big black car sweeping down a highway away from us, headed towards the brooding WAYNE MANSION rising from its hillside setting in the mid-distance�bats clattering through the air in a right-to-left stream in between us and the car�

(no dialogue)

PAGE SEVEN

Pic 1;

CUT TO; At the front doors of Wayne Manor, Wayne gallantly and showily ushers Diana through the open doors ahead of him, where light streams through�

BRUCE;���������������������������������� AFTER YOU, MS PRINCE, PLEASE.

DIANA;���������������������������������� CHIVALRY IS NOT DEAD.

BRUCE;���������������������������������� NO, JUST LAYING DOWN FOR A WHILE.WHICH, YOU MUST ADMIT, IS AN EXCELLENT IDEA.

Pic 2;

In the great Wayne Manor hallway: ALFRED awaits as Wayne shuts the doors behind him.

BRUCE;���������������������������������� ALFRED.STATUS?

ALFRED;�������������������������������� ALL SECURITY SYSTEMS ON; NOTHING INSIDE THE GROUNDS CAN BE SEEN OR HEARD FROM ABOVE, SIR.

BRUCE;���������������������������������� GOOD.HOW DID YOU GET HERE, DIANA?

Pic 3;

He�s all business now, is Bruce Wayne, as he shrugs off his jacket for Alfred to take.Completely different man.Intense.

DIANA;���������������������������������� I TOOK A DOOR FROM NEW YORK.

BRUCE;���������������������������������� DIANA, YOU SHOULDN�T USE THE DOORS.THEY MONITOR THEM.IF THEY�D CAUGHT YOU USING THEM THEY COULD�VE TELEPORTED YOU FIVE MILES DOWN.

DIANA;���������������������������������� BRUCE, WE�RE ALL WELL AWARE BY NOW THAT THEY KEEP ME ALIVE BECAUSE IT AMUSES THEM TO DO SO.

Pic 4;

Jacket draped over one arm, Alfred consults a pocketwatch with his other hand.

BRUCE;���������������������������������� STILL.YOU SHOULD TAKE MORE CARE.IF I COULD FIND YOU, THEY COULD FIND YOU.

DIANA;���������������������������������� WHAT ABOUT CLARK?

ALFRED�������������������������������� THEIR SURVEILLANCE SATELLITES WILL BE IN THE PREDICTED CONJUNCTION IN ABOUT THREE MINUTES, MASTER BRUCE.

Pic 5;

Bruce indicates that they walk across the hall, unsmiling.

DIANA;���������������������������������� CONJUNCTION?

BRUCE;���������������������������������� I PLANNED THE PARTY TO TAKE ADVANTAGE OF IT.EVERY FEW DAYS THE SATELLITES� ORBITS ACCIDENTALLY CREATE A CORRIDOR OF UNMONITORED AIRSPACE BETWEEN HERE AND METROPOLIS.

BRUCE;���������������������������������� IT LASTS ABOUT SIX MINUTES.I THINK THAT�LL MAKE AN INTERESTING POWERS TEST FOR MR KENT.

BRUCE;���������������������������������� COFFEE?

PAGE EIGHT

Pic 1;

CUT TO: Bruce and Diana walking through french doors into the dark rear grounds of the manor, holding steaming cups of coffee.

BRUCE;���������������������������������� THE CORRIDOR OPENED UP A LITTLE OVER THREE MINUTES AGO.

BRUCE;���������������������������������� LET�S SEE.

Pic 2;

Bruce narrows his eyes, points up into the sky � Diana follows his gesture.

BRUCE;���������������������������������� AHA!

Pic 3;

Against the full moon � a human figure, silhouetted.It�s wearing a suit, and the jacket snaps out against the wind, making a shape a little like a cape.

(no dialogue)

Pic 4;

Wayne looks at his watch.

BRUCE;���������������������������������� EXCELLENT.�� NEARLY THERE, MR KENT, NEARLY THERE�

Pic 5;

Through the trees in the grounds, a dark figure drifts down, in an upright standing position but a good twenty feet off the ground�

(no dialogue)

PAGE NINE

Pic 1;

�drifts down until he�s only a few feet off the ground, and close enough to us/Wayne that the cold light from inside the mansion falls on him�

�Clark Kent, in a black suit, white shirt and red tie, night winds pulling at the jacket and tie�

Let�s give this a full page panel.Make him look slightly spooky.We should not be reassured by this dark figure drifting down from these nighted trees�

KENT:������������������������������������ EVENING, BRUCE.MS PRINCE.

-- end script sample --

Click the photo for full-size
art by Jerry Ordway