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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