10th Muse: The Marv Wolfman Comic Book Script Book

Marv Wolfman, Darren G. Davis

Description

"In 2001, a new, strong female protagonist hit the streets of local comic shops in the form of the 10th Muse. With this new character, creator Darren G. Davis vowed to make engaging three-dimensional female superheroes cool. Now, 20 years later, to celebrate the 20th anniversary of this powerful female superheroine, TidalWave Productions proudly announces the release of 10th Muse: The Marv Wolfman Comic Book Script Book. Originally published by Image Comics, the 10th Muse was the 6th highest selling book at its release. With scripts written by Marv Wolfman, co-creator of Marvel Comics' Blade and DC Comics' New Teen Titans, Cyborg, Raven, Deathstroke, and others, the title saw critical acclaim on top of being a financial success. Clocking in at over 250 pages, the script is divided by gorgeous art from renowned artists Roger Cruz, Andy Park, and Ken Lashley. Who is the 10th Muse: Greek mythology has documented the nine Muses, the inspirational daughters of the almighty god Zeus. But history forgot one—the 10th Muse. Emma Sonnet mysteriously disappeared five years ago during a summer trip to Greece celebrating her graduation from law school. Yesterday, she resurfaced just as mysteriously as the newly appointed District Attorney, with a unique take on the law. Battling evil in the courtroom by day, and in the shadows at night, Emma Sonnet is tipping the scales of justice her way, as The 10th Muse. Billionaire industrialist Grayson Bishop, charming and as deadly as a cobra, will as easily kill a rival as bury them in business. Now his sights are set on The 10th Muse, and he wants her dead in the worst way."

Sujets

• Contemporary Women
• Action-adventure
• Action-adventure game

Informations

• Publié par: TidalWave Productions
• Date de parution: 03 novembre 2021
• Nombre de lectures: 4
• EAN13: 9781005580452
• Langue: English
• Poids de l'ouvrage: 23 Mo

Extrait

TH THE 10 MUSE

ISSUE #1 BREAKDOWNS Hi! First thing I like to do is let you know that what I’m sending you, although overly detailed, is a roadmap. I want you to know all my ideas, but you are free to play with them, to simplify them, to alter them or to come up with something better, as long as we’re all going in the same direction. I want you to have fun with this so don’t worry about putting in six hundred panels because what I’m writing could break down into six hundred panels if followed exactly. By the way, the / marks is my view where a new panel begins, but that ultimately is your call. If there are any questions, please give me a call. If you want to radically change something, just pass it by me and Darren. My only request/hope is that you put in lots of backgrounds. I think backgrounds give a real sense of place to the reader and roots them in the reality of the story. Finally, this story moves up, back, and all around time. You may want to try different types of panel borders to identify each time sequence. The Muse material in one, The Dawn material in another, etc. That way it could help the readers even though in captions I will make it clear the day and time throughout. That’s it! Enjoy. – Marv 1: Divide the page in half so there are TWO TIERS. Then each tier will have FOUR PANELS – very narrow scenes. First tier: It’s NIGHT. The present. Sept. 15. 8:37PM. Everything should be done almost in silhouette to give an air of mystery. Inside a hospital. THREE MEN, all ARMORED in HIGH TECH warrior costumes, weapons in hand, SMASH open a STAIRWELL DOOR as nurses and Doctors move patients on gurneys. / Close on one warrior firing OP. / We see Doctors and nurses looking frightened as hell. / The men move up the corridor in military fashion. We see one of them firing OP. Second tier: Extremely close on MUSE’S eyes staring out of the dark. We only really see her eyes and perhaps a wisp of hair falling in front of them. / We see one of the Mercs KICKING OPEN a door. The other two Mercs have their weapons ready. / As they enter, perhaps the lead Mercs have fallen to their knees, the Merc in back stands up. They are firing into the room. / From behind them: they enter the room – it’s empty except for an unmade bed. Bullet holes riddle the mattress. Nobody is on the bed. 2: They run into the corridor again, guns in hand. / What they don’t see is ABOVE THEM, attached to the ceiling, is MUSE. Her shoes and arm bands have adhesives on them that allow her to stick to the ceiling. One arm is out, however, as if ready to attack. Note: She doesn’t use a lethal weapon, but she does have a Batman-like arsenal of non-lethal weapons in her pouches and crisscrossed belts. In her hand is a small device which she is obviously going to hurl. / Large splash: She’s hurled the device and it’s streaming out a strangely colored SMOKE. The men are reacting. Perhaps one is firing at her but she’s leaping Spider-Man like over their heads. / Sept. 15 3:20PM. SMALL INSERT on the bottom-most right portion of the panel. It’s of a computer KEYBOARD. Female hands are typing. 3: The top panel goes across the top of the page. DAWN LEVITZ, 28, shy, pretty but not spectacular, sits in her cluttered apartment in her bedroom hunched over her computer, typing away. Her bedroom is filled with STAR WARS posters (which are covering cracks in the old wall), action figures of XENA, BUFFY, PRINCESSES LEAH and ARMADALA, etc. The female action

characters. Her bookcase is planks of wood separated by cinder blocks. Low rent, low budget, low maintenance. She’s intense as she writes. Leave room for captions as I’ll be telling much of the story as flashbacks which she is writing about, so don’t push the art all the way to the top of the panels. Let art go up there but nothing you’ll regret losing under my word balloons. And don’t worry, I’m pretty good at placing balloons so as not to cover up major stuff. / Close up on Dawn, finger in mouth, thinking. Remembering… / It’s now 1992. We see Dawn’s UNIVERSITY CAMPUS behind her, her younger self – 20 years old, walking along with KEVIN BAKER and EMMA SONNET, our heroine – also 20. They are laughing and joking, the three musketeers. Other kids are there, too. / The three continue walking but we move in closer on them – head and shoulder shots. They are the best of friends and are having a great time joking. Emma says they’ve got their apartment. They got their books. What else do they need? / Kevin is laughing. Well, the two best women on campus are my roommates which means you’re off limits. So I need a girl-friend. Know any possibilities? / Emma gives a quick retort to which Kevin and Dawn laugh. 4: It’s still 1992. We’re in front of a VICTORIAN house with many rooms in it and a “ROOM FOR LET – Students Welcome” sign in the bottom window. Dawn, Emma and Kevin are talking as they walk up the steps to the house. / We now see their room. We’re in the living room and see there’s a door to the bedroom. They’re unpacking and carrying stuff here and there, talking, having fun, etc. / We see them at the LAW LIBRARY, sitting around a huge table piled high with legal books. They are working late into the night and look tired. / Graduation. We only see hands tossing up the caps…hundreds of caps into the air. / We see them around their table at home, maps open. Bags packed. They’re taking off for a summer trip, their last fling before they have to settle down to a 9-5 job. They’re going to spend the summer in Europe. / Final panel: Dawn is sitting at her computer, back in the present. Last fling. We came back. Emma didn’t. Not for eight years. 5: Dawn gets up from her computer, looking down on it. Emma was my best friend. Kevin and my best friend. Yet all she did was leave a message at our hotel room saying she wasn’t coming back with us. / Shoot this from outside her apartment building looking in: She’s staring out the window looking rather sad. She was always different, but we loved that. And when she came back she was very different and we’re just now getting used to it… / Same angle looking into the apartment. We see her turn back to the computer but not yet sit down. She says, in captions, we were going to open up a law firm, the three of us. I’m shy. My forte was research. / We see Kevin, now 28, in court quietly, calmly, without passion talking to a jury who look bored. Kevin’s sharp and outgoing, and, well, I love him, but he’s not exactly inspiring in court. But Emma… / We see Emma in a mock court in school. She’s dynamic, her arms moving, she’s impassioned. They could only imagine what she’d be like in court. But when she left our idea of opening a firm… / Close on Dawn looking sad as she types. …went down the toilet. We work in the DA’s office now. / Dawn is typing again. Hoping maybe someday when Walter Knight retired one of us would get his job. 6: Dawn sits back, finger touching her lip contemplatively. It could have happened…that is if last month hadn’t happened. / Cut to last month. July 8. 11:45AM. We see Dawn and Kevin at work in their cubicles. Kevin is looking up, smiling at Dawn, cracking a joke. / As Dawn replies, also laughing, we see KNIGHT coming toward them. A much older man, distinguished, the current DA. Dawn, Kevin, I’d like you to come with me. / We see them entering his office looking shocked. In the foreground we see EMMA, but turned away from us so we see her back only they can see her face. They are reacting. / Now we see Emma clearly, smiling warmly as Dawn and Kevin stare. They

didn’t know she was back. They hadn’t heard from her in years. What’s going on? What’s been going on? / A two shot of Emma and Knight. Emma’s laughing but Knight says he heard Emma was back in town and he went to see her. She’s put together quite a record for herself in Europe. And I had to offer her the job… / We see a two shot now of Dawn and Kevin looking shocked. Off panel we hear Knight say he’s retiring and he’s appointing Emma DA until the elections. 7: Back to the present. In the Hospital. Go back to the two tiers, four panel per tier look. First tier: Muse leaps between two of the Mercs, slamming them both with her feet. The third Merc is aiming at her. / She leaps, somersaulting OVER the Merc who is firing at her. / She GRABS him by his collar and is pulling him back as she continues her arc over him. Second tier: They’re struggling. The Merc SHOOTS. / The bullet HITS her shoulder and she falls back in pain. / Muse, on the ground, grabs her bleeding shoulder. She stares, eyes narrowed after the fleeing Mercs. She won’t let them escape. Not yet. / Exterior of the hospital. A tricky shot so make it as LARGE as you can. Muse is leaping out of a high hospital window toward the ground toward the Merc’s jeep which is speeding off. IN THE BACKGROUND, PUT IN A RED CONVERTIBLE MUSTANG. We’ll learn later in a different flashback that Kevin and Dawn are in that car, but I just want it set up here. 8: Back to Dawn. Typing. / Cut to the three of them 20 years ago. 1992. We see them in GREECE, in the Acropolis. A good, strong shot with lots of background. They are wearing shorts and tee shirts and all have backpacks. They’re probably staying at a cheap hostel some place near. They’re obviously having a good time. / They move apart to explore. In the captions, Dawn will say I don’t know what happened there, but it was obvious something did. / Follow Emma as she walks between pillars looking around. She’s carrying a small sketchbook and is drawing what she sees. / A down shot onto the scene. Emma comes to the SLOPES just outside the Acropolis and looks down. There’s something GLOWING in the stones just a little below her. / Emma struggles her way down. / She reaches for the glow. 9: BAM! Energy SLAMS into her knocking her back. She screams out in pain. / The Greek hospital, not the one the story opens in now but one 20 years ago. Emma’s sitting up as the Doctor is putting a bandage around her forearm. Dawn and Kevin are laughing. Miss clumsy can’t be taken anywhere. / Back in their room in the hotel, Emma is using her one good hand to pack up clothing. Dawn has her larger backpack filled. Kevin is already wearing his. Dawn’s saying it’s killing her watching Emma struggle. Let her help. Emma says she got into this so she’ll solve her own problems, thank you. But go ahead to the train station. I’ll meet you. / Back to present. Dawn is at her typewriter, But she didn’t show up. And when we went back to the hotel there was only that note. Now, eight years later WHAM! She’s back like the time hadn’t passed. / Dawn looks serious. What the hell happened to her? / Cut to today, the streets of San Francisco. The Three Mercs are in their jeep tearing through the streets. 10: Pull back to see Muse in a multi-action pose – she’s flipping around the extended part of a lamppost then flinging herself ahead. / Shoot from in front of the jeep to the scene behind. We see Muse leaping from moving car to moving car heading for them. One of the Mercs wants to shoot but another says do that and every cop will be on us in three seconds. I got a better idea. / He pulls the jeep OUT of traffic – perhaps hitting a car as he does. He’s heading for the sidewalk. / Muse somersaults off one car and lands to see the jeep tearing down the sidewalk, pedestrians leaping out of the way. / She leaps up to a building… / …and climbs up the side. Justice will triumph, she says.

Note, show the NAME in huge lettering across the top of this building. It is BISHOP ENTERPRISES. 11: We see Muse leaping across the Bishop building rooftop to the next one. If you can angle it just right, we can also see the jeep tearing down the sidewalk way below. If not, don’t worry about it. / She leaps between a narrow alleyway heading for the building on the other side of the alley. / A straight on shot of the alley. What Muse is doing in multi-action is pushing off one building which propels her to the one across the narrow alley. She then does it again and again moving down the building that way. Make this a LONG panel down the page. / The jeep tears around a corner to see Muse standing before them, leaning casually against a wall or something. What kept you? 12: Angle on the penthouse of the Bishop Building. We can see the SIGN just above the huge window. Inside the window, we see GRAYSON BISHOP looking powerful and elegant staring down into the street. He says we can’t be kept apart, can we, my dear? Next to him is MORGAN, an incredible looking woman, his MAJOR DOMO. She has papers for him to sign. / Bishop is walking off as he signs the papers. He is also giving her orders and Morgan is giving answers. Already done. Accomplished. The money’s in your Swiss account, etc. / A huge panel. We now see his office clearly. This is incredible. It’s several stories high. There is a huge waterfall and pond off to one side along with palms and plants. It’s an office/atrium all in one. The pond has COY in it. Bishop is feeding them some food as he tells Morgan that relocating his main base from Europe to San Francisco was a good move. My sources were right. She is here. / We see a close up of his face which leads to a FLASHBACK to the right of his face. It’s 1993. It’s London. Bishop’s younger and is in his LIMO. Morgan is the driver. Through the front window, we can see a crowd of people walking across the street. EMMA is among them, still with a backpack. / As Emma walks, she suddenly GRABS HER HEAD. SHE’S IN PAIN. / She collapses right on Bishop’s car. We already see Morgan getting out of the car – highly trained. 13: On the street, Morgan kneels beside Emma. Bishop is out and looking at her. Morgan says she’ll move her aside so they can go on. / Close on Bishop’s face. He’s obviously smitten. No! Bring her into the limo. We’ll take her to my hospital. / In the London hospital, Emma is in bed in her hospital gown. Bishop is entering. She’s grinning and he’s smiling. He says my Doctor says you’ve been having migraines? She says yes. For about a year. They started in Greece. / He sits on the bed next to her and takes her hand in his massive hands. He says let me help you. / A night scene, mostly in silhouette. Cut to the chase. They’re in bed, he’s on top of her, but not completely on her – his arms are outstretched – like in a push up – so he can look down at her. He says she’s beautiful. She says so are you. / Cut to the two of them on a huge YACHT. She’s in the smallest bikini possible and is bringing a plate of drinks to him – dressed in trunks, a towel around his shoulders. He sits at a table along with several JAPANESE MEN in full business suits. They are talking business, and not honest work. 14: Night. Close on them in bed. She’s wrapped in his arms as they cuddle. He’s trying to calm her down. Don’t worry about what my business is. She says it keeps me up at night. / He puts his hands tenderly on her cheeks – no, your migraines keep you up. Just forget about my work. Enjoy. / He reaches for something under his pillow. I have something for you. / He holds up an engagement ring with the diamond the size of a Buick on it. Marry me. / They kiss. Yes. YES! / Night. She’s in

bed, dreaming. Close on her. /This is her dream so you can make the art surreal if you want. Bishop is holding a gun firing off panel. / A silhouette or shadow of a man being shot dead. 15: The scales of justice are superimposed over Bishop’s face. / A face – a kindly face of Mnemosyne, Greek God Titan of Memory is calling to her…Justice will triumph. Remember. REMEMBER. / She wakes up in a sweat, Bishop next to her. / She stares at him, almost looking afraid. / Back to present. Bishop looks out the window of his office in San Francisco. The night I proposed to her she left. It’s taken me five years to find her. I won’t lose her again. / In the present, an intimidating Muse stands over the three Mercs who have obviously been beaten to a pulp. They look frightened but they won’t talk. / She’s hunkered down beside one of them as she holds up her palm as if to place it on the guy’s forehead. He looks scared. She’s grim as she says oh, you will talk. Note: When she’s Muse her right palm (being right handed) has a glowing scales of justice tattooed on it. 16: January 15, 1997. Winter. Greece. A haunted looking Emma, bundled up for winter, stares at the Acropolis. It all began here, she thinks. / She walks past the columns – shoot past them to her for an interesting look. The migraines. The dreams, or maybe the nightmares. / Close on her. She remembers being put in the orphanage. She remembers so much…from off panel we hear a voice. There she is! / She turns to see two armed men coming up after her. Bishop’s been looking for you for years. / She runs, they chase. They can’t shoot. She’s wanted alive and in good shape. / They tackle her to the snow-covered ground. / As she struggles she puts her hand to the guy’s head as if to push him away. / There’s a burst of energy and he’s slammed back. 17: We see him half unconscious. She’s over him looking shocked at the scales of justice on her palm. We see the other hood running off. / She places her palm to his head as VOICES tell her to do exactly that. / Close on him – he’s telling all his crimes and what he’s done for Bishop. His eyes are wide as if in a trance. / Angle from past him, unconscious, as she runs off into the distance, a small bundled up figure against a snow-covered vista. 18: Back to a small panel of Dawn typing. / Back to the DA’s office. Kevin, Dawn and Emma are there where we left off. Knight says he knows they have a lot to talk about. Go. / Outside the courthouse, we see them facing each other in silence. All are too embarrassed to talk. / Then Emma starts as Dawn SHOUTS at her. What the hell happened, Emma? You disappear from our lives and now you’re back? / Another silent panel – almost. All Emma quietly says is they should talk. / Outdoor coffee shop. They’re having coffee. She’s apologizing. Something, she can’t say what, has happened to her. She got screwed up. / More talk. 19: More talk. Emma says please forgive me. / Silent panel as they all look at each other uneasily. / Then Kevin grins. I missed you. When you can tell us what happened tell us. But unless I can’t read people you’re still the person who was our closest friend. / Emma turns to Dawn. What about you. Can you forgive me, too? Back to present in Dawn’s office. She stops typing and is looking at her computer screen. I put this all down on my computer so it could help me make up my mind. / Close on her. Emma was my closest friend. I’ve never had any other woman as close. Still don’t. But… There’s a KNOCK at the door. / She opens it. It’s Kevin looking horrible. He just heard from the hospital. Emma’s in it and she’s DYING. Dawn looks horrified.

20: Dawn’s driving her red convertible MUSTANG toward the hospital. The Merc’s JEEP is speeding off in the opposite direction next to them. Dawn is asking WHY Emma was in the hospital in the first place. Kevin says he doesn’t know. He just got the call from the hospital and rushed right over. / As they run into the hospital, ANGLE the panel so WE can see but THEY CAN’T MUSE leaping out a hospital window toward the ground. / They’re at her room now – filled with bullet holes, etc. Police are there. Kevin and Dawn look horrified. / As they question one of the nurses who looks like she’s gone through hell, all the nurse can say is there was gunfire. Then Emma is GONE! / Cut to the grounds of a large mansion. We see several armored Mercs firing at Muse who is leaping at them. / She whirls, slamming one with her foot and another with her fist. 21: This is a big fight page. Have fun. She’s smashing them. More come, firing. She uses one Merc as a shield as others fire at them. She hurls him at one while taking on another. She wreaks havoc with them. 22: Muse leaps over a high fence with ease. She has to find Lombardi. He’s the one the Mercs on the street said hired them. He’s a procurer, somebody you go to in order to make things happen. / Muse CRASHES in through a great picture window. Now she wants to know who hired Lombardi. / She kicks open a door and looks horrified. / Large panel. In the kitchen, a huge gourmet-like kitchen with two stainless steel refrigerators, a huge middle island, etc. This is as big as any restaurant’s kitchen. And there, clear for us to see, mounted in the wall is the MICROWAVE, a huge mother- sized one. And through the clear glass window of the microwave we see Lombardi. Folded up. Dead. Cooked from the inside out.

TH THE 10 MUSE

ISSUE #1 DIALOGUE

TH THE 10 MUSE #1

Note to letterer: “MCAP” (Muse caption) should have a THICK BORDER around it. “Cap” should have a regular border (or, if indicated, the top can be left open). PAGE ONE PANEL 1: Cap 1: SEPTEMBER15.8:37PM. MCAP 2: Like they say, “NOBODY expects the Spanish Inquisition.” PANEL 2: MCAP 3: The hospital GUARD and three others were KILLED on the first floor.

SFX:

MCAP 4: PANEL 3:

MCAP 5:

MCAP 6: PANEL 4: MCAP 7: MCAP 8: PANEL 5: MCAP 9:

WHOOOM

Two more would die on the STAIRWELL to intensive care.

A DOCTOR was found dead in the third floor hallway. A nurse, critically INJURED.

All in all SEVEN people died.

Later, I learned the ONLY reason for the violence was to create CHAOS.

They were counting on the CONFUSION.

What they weren’t counting on…