The Glass Panel




1. Betty stands in a hospital room, not believing what she sees. She’s brought a get-well card, balloons, flowers, and a video. You might say she feels a touch responsible for Reggie being in a body cast… but the individual in front of her in the body cast is not Reggie, but Dilton. Betty’s hairstyle is back to a ponytail.

Betty: Dilton! Wha–wha-- what are you doing here?

Dilton: Well, I’m using dynamic tension to slow muscle atrophy–oh, you mean how did I get here? I tried to invent a "love windmill" that would turn romantic excitement into electricity. Then I showed it to Archie and it blew up.

2. Betty leans back out into the hall to inspect the room number.

Dilton: Does that mean the balloons aren’t for me?

Betty: You can have some… but where’s Reggie? I was sure this was his room…

3. Now Dilton has Betty’s undivided attention.

Dilton: Reggie was just here. He was acting weird, too. He looked out the door, said, "Hellooo, Nurse," and walked off.

Betty: Reggie… was walking?


1. Extremely close on Betty as her eye travels back to the doorway, with Reggie leaning into it.

Reggie: Sorry, Dilt. I just couldn’t stand to see that nurse’s green eyes looking sad. But I think I was too much man for her.

2. Dilton’s-eye view as Reggie and Betty face each other.

Betty: You’re the one who should be in a body cast!

Reggie: Wow, that’s just what she said.

Betty: You dated Midge and got hit by a car! I brought these for you!

3. Betty’s confusion is mounting toward terror. She looks at the videocassette she brought: it reads "The Habits of Eels."

Reggie: You brought me a National Geologic video? Betts, what did I ever do to you?

Betty: This was a "Josie and the Pussycats" tape…

4. Dilton tries to help as best he knows how: by figuring out the cause of the problem. (If only he knew that figuring out the cause of the problem is exactly why Betty is so upset.)

Dilton: Fascinating.

Dilton: Assuming your memories are valid, Betty, we might be looking at time travel, alternate reality, or precognitive flashes. Have you lost any time today?

5. Maximum intensity on Betty. She runs her hands through her (ponytailed) hair and over her face, screaming in protest.

Betty: No!

Betty: No!

Betty (spiky balloon, red letters): NO!

6. Despite their words, both Dilton and Reggie have looks of deep concern.

Dilton: Thanks for dropping by…


Reggie: Maybe she has a fear of techno-babble?


1. Betty stands bolt upright in the middle of the hospital hall. Passers-by can see her, but so great is her shock that she simply doesn’t care. On one side of her, a new mother leaves with her baby in her arms, on another, a nurse helps a very old and feeble man to his room.

Betty (whispering): It’s true…

2. Here we see the image of Archie and Betty walking down the aisle that we saw before… but it’s been torn right through the middle.

3. An image of a "Southern belle" novel: Steel Potatoes, by Betty Andrews, boasting the caption: "#1 Bestseller!" This image has two tears in it.

4. An image of Betty as doctor, standing over a smiling patient who grasps her arm. This image is torn, almost neatly, into four horizontal strips.

5. An image of Archie and Betty holding little baby Archie Junior and Betty Junior (fraternal twins). This image is torn to shreds, but the shreds are so closely positioned that we can still clearly make it out.

6. One tear is already running down Betty’s cheek, and another is beading in her eye. Beside her stands Miss Grundy, who’s icing some bruised knuckles.

Grundy: Betty?

Betty: Mih… Miss Grundy?

Grundy: Oh, dear…


1. Betty and Grundy in silhouette. In the foreground, Jason Blossom is being carried on a stretcher, while Moose runs alongside. Moose is trying to apologize. But Jason keeps threatening to sue. Not that anyone understands him, since a Nerf football is lodged in his throat.

Grundy: I know how it is when the people we love are hurting. Is it a relative?

Betty: Um… yes…

2. Closer on the last ripped image from the previous page, focusing on the twins. There are fewer tears seen at this magnification, but the tears look larger, uglier.

Caption: "Two relatives. It’s bad… I’m not sure if they’re going to live."

3. Grundy looks down in reverence, trying to find the right words. We get a good view of her iced knuckles.

Grundy: Ohhh, I know. And you have to be strong for both them and yourself. Stinks to high heaven, doesn’t it?

4. As Grundy lays a hand on Betty’s arm, the arm stiffens and the fist clenches.

Grundy: Betty, I know you, so I know you’ll take care of them better than I could. Just don’t forget to take care of you.

Betty: You’re right…

Betty: You’re right.

5. What Betty has to say to Grundy is short and sharp.

Betty: We can fight this, you know. There’s a way to beat this disease. And I will find it.

6. As Betty strides off, Grundy waves to her retreating hindquarters.

Grundy: Well… good for you!

Grundy: You go, girl!

7. Small panel: Grundy is lost in thought.

Grundy: Now why does that never sound right when I say it?


1. Mr. Weatherbee’s door is ajar enough that we can see Betty behind it, and see that she does not look happy. She’s carrying a handbag.

Betty: Mister Weatherbee. This is important. Where… is… Svenson?

Weatherbee: He’s taken a day off. He left a note. Did you know his name was actually "Swenson?"

2. Betty has already turned her back on Mr. Weatherbee and is leaving the office.

Weatherbee: He’ll be back tomorrow.

Betty: Tomorrow never comes.

Weatherbee: Pardon?

Betty: Never mind.

3. Betty tries the "maintenance" door. It’s locked, of course.

Betty: ((So you’re hiding yourself from me. Like you’ve hidden the comic. Do you expect me to just forget?))

4. Betty’s fingers have pulled some nail polish out of her handbag and are unscrewing the lid.

Betty: ((I can almost feel it, now, when your "The End" is coming. It’s like… Grandma says an approaching storm can chill your bones when you get old. I wouldn’t know.))

5. Betty brushes nail polish onto the door itself. It looks like she’s forming letters, but we’re too close to them to read them.

Betty: ((Five days ago (days?), I wouldn’t have dreamed of vandalizing school property. But only you will see this before you erase the crime.))

6. We’ve pulled back enough to see that Betty’s spelled out a single word. WAR.

Betty: ((And now maybe you’ll feel a storm is coming.))

Caption: The End



1. Veronica lies in her room, on her posh queen-size bed, with her cell phone clamped to her ear by her shoulder while she does her nails. Her personal Internet connection is up and running, and photos of DiCaprio, Ricky Martin, and Archie line her pink walls.

Veronica: Melody… flirted with Moose? You don’t think it’ll go anywhere? But they have so much in common… ohhh?… you’re so bad, Pepper…


Betty (from behind door): Veronica! Let me in!

2. Betty bursts in, out of breath. Veronica puts her hand on the receiver and gives Betty a conspiratorial grin. (Betty and Veronica’s love-hate relationship could be a book on its own… probably has been, in fact.)

Veronica: Betty! Guess what? Midge shoved Melody into a vat of ice cream and now Melody can’t sing a note or stop smelling like pistachios!

Betty: (Huff) Ronnie. (Huff)

3. Betty takes Ronnie by the shoulders and looks at her, low and intense. Veronica sobers up immediately.

Betty: Do you remember the promise we made when we were ten? No matter what, we’d always trust each other? I need you to trust me now, okay?

Veronica: O-okay.


1. Betty spreads her arms wide, standing, while Veronica takes a seat on the bed.

Betty: …And it’s not just you and me, Ronnie! Ms. Grundy… Jughead… all of us!

Veronica: Do you mind if I sit down?

2. Veronica seems to have developed a headache, and she stares out into space, past Betty.

Veronica: This… this is a lot to take in…

Betty: It’s okay, Ron. I’ll give you time. I think you’ll remember this like I do, but if not, I’ll just explain it again.

3. As Betty leaves Veronica’s room, Mr. Lodge pretends to read the financial papers while eavesdropping.

Betty: I don’t even know what I’m going to do yet. But I had to tell somebody… and you’re my best friend.

Veronica: …Thanks…

4. Veronica lies back on the bed as her father comes into the room.

Mr. Hiram "I have the best first name of all the Archie characters" Lodge: Is Betty in… trouble, Veronica? We do know doctors…

Veronica: How many of my conversations do you listen in on, Daddy?

Mr. Lodge: All of them, sweetheart. I’m your father.

5. Close on Veronica’s deeply worried expression.

Veronica: She might need a doctor, but not that kind… if this was Reggie or even Archie, I’d think it was a prank… but I know Betty would never lie to me like this…

6. Close-up: Mr. Lodge is shocked.

Veronica: So I think she really is crazy…


1. Lots o’ floating heads with telephones, both wireless and, um, wireful. Veronica, Midge, Nancy, and Pepper are required, but no female Archie characters are off limits… although if Melody’s shown, she’s looking pretty skanky.

Veronica: Cheryl, I’ll pay you not to tease her about this…

Midge: She always seemed so stable… but they always do, don’t they?

Nancy: You say she was reading comics when she lost it? Like… my Chuck’s comics?

Pepper: Yo, Ethel. Your cousin went nuts. How did you deal?

Pepper: Huh. No need to be rude.

2. Archie, Reggie, Nancy, Chuck, Bingo Wilkins, and Ms. Grundy are there to greet Betty when she comes into class. All of them have worried eyes and wide smiles. Conspicuous by his absence is Jughead… in fact, we haven’t seen Jughead since the episode in the memorabilia room. What’s up with that? [Note: Bingo Wilkins was a minor character, kind of an Archie clone except for having only one girlfriend.]

Archie: Hi… Betty. How are… you… today?

3. In the lunchroom, Archie gives Betty his undivided attention, and Moose is bringing her lunch.

Archie: ((This is my fault. If I’d paid her more attention…))

Betty: …all just characters. Listen to me!

Moose: D’uh, don’t worry, Betty. I’ve thought lotsa stupid things, too.

4. Veronica is making a cell phone call inside the ladies’ room. Svenson mops the room and regards her conversation with some interest.

Veronica: Never mind about his schedule! You can name your price… but if you don’t fly your best psychiatrist to Riverdale tonight, my daddy buys your practice and fires you!


1. Cheryl observes Archie and Moose helping a reluctant Betty home.

Cheryl: Hmph!

Jason (off-panel): Sis, why do you even care whether mere townies pay attention to you?

2. Cheryl turns back to Jason, who leans back on his sports car, checking Betty out. Cheryl’s wearing her usual attention-getting type of outfit. Use your imagination.

Cheryl: They are mere townies, "brother dear…" so how dare they ignore me?

Jason: Her madness is… attractive. It makes her… mysterious. Intense.

3. Close on Cheryl. Cheryl sticks a pointer finger in the air, having found something new to want. Jason rolls his eyes.

Cheryl: Pfah! I have more mystery than her in my index finger! And furthermore, I’ll prove it!

Jason: If you prove a mystery, it’s not a mystery any–

Cheryl: Quiet!

4. Close on Cheryl. She’s painted her face white, except for black lips and a sort of iconic tear on her left cheek. (She looks like the model for the mask in Kabuki, which see.) As we will soon see more clearly, she’s wearing a dominatrix outfit. She recites poetry with a faraway look in her eyes.

Caption: The next day…

Cheryl: "Death is life and hate is love. I smell the smell of fear. It smells like chicken. Colorless green ideas sleep furiously."

5. Further back on Cheryl. We can now see that she’s holding notes, and standing in front of Betty’s house. Dilton and Midge are walking together, and Midge’s head is swiveling from Cheryl to Dilton. (Dilton, of course, shows no sign whatsoever of his injuries from the previous chapter.)

Cheryl: "Reality is unreal. Everybody’s a comic. Unballoon me."

Dilton: So then I thought, "Why not reverse the bipolarity using imaginary numbers?"

Midge: Gosh, Dilton, isn’t that INTERESTING?…

6. Betty clenches her fist as she looks out the window at Cheryl’s Goth act.

Off-panel voice: People can be cruel at any age. Just remember, don’t descend to their level.

Betty: NGAAAA!


1. Betty turns back to Morton J. Muggle, an extremely respected psychiatrist with a kindly face. He has the haircut of Professor Flutensnoot, a heavy but not grossly fat build, and scholarly fashions. Betty strikes the wall, which coincidentally happens to be where the panel border is.

Betty: You don’t get it! We’re all on the SAME level! We’re trapped in these boxes and can’t get out!

2. Betty’s parents are listening downstairs. Her mother melts, crying, into her father’s arms, and her father speaks quietly and without conviction. A tray of milk and cookies rests on a nearby table.

Betty: Good–bad–whatever we do makes no difference! And no one understands because no one WANTS to!

Mr. Cooper: It’s a phase, honey. A phase.

3. Flashback: Veronica looking away from a waving Betty in the chemistry lab. Her nose is high, her eyes are closed–but her mouth is pained. A little "Betty head" occupies the caption, so we have no doubt it’s Betty talking.

Caption: "The one person I trusted has turned her back on me–and sent you over so that I’d stop embarrassing her."

Betty: Ronnie, look at me!

Veronica: ((I can’t, Betty. I just can’t.))

4. Muggle says something that seems to get through to Betty.

Muggle: Suppose you’re right, Betty. What then? How can you make them want to believe when they’re happy with the lives they have now?

5. Small panel. Betty’s head again, now serving as the entire image. She’s talking very quietly to herself.

Betty: How indeed.

6. Betty turns back to Mr. Muggle, considering his viewpoint.

Betty: You know… when I fell in the maintenance room… I hit my head. And that… was when I started seeing things. I… guess I was imagining it.

7. Betty smiles innocently... too innocently. There's a scary black-and-magenta abstract background.

Muggle: This… is a very quick turnaround. You realize we’ll have to take more time…

Betty: No problem. I’ll give you all the time in the world.

Caption: The End


1. Jughead walks along, completely content with his place in the universe. Medium profile shot.

Jughead: ((Man! From what Svenson said, all of us in Riverdale are only here to lie around like lumps and never improve ourselves.))

2. Jughead walks along, completely content with his place in the universe. Overhead shot.

Jughead: ((It’s a frightening thing to be proven so completely right! …But I’ll get over it.))

3. Jughead walks along, completely content with his place in the universe. Close-up frontal shot.

Jughead: ((Still, I do have a few nagging ambitions. I wonder if I could get Svenson to let me back into that comics museum.))

4. Jughead walks along, completely content with his place in the universe. Rear shot.

Jughead: ((I can’t imagine a better place to goof off for the next sixty years!))

Caption: End



1. Int. Club Blossom–Night. The other patrons have already gone home, but a mysterious figure, clad in hat, scarf, trenchcoat, gloves, and sunglasses, remains. He speaks to Cheryl and Jason. Cheryl really, really likes what the figure has to say, but Jason hems and haws.

Cheryl: Buy out Lodge Enterprises? Keep talking, you smooth devil!

Really incredibly mysterious figure: I trust I can rely on you in my plans?

Jason: Well… we’re in, but…

2. Jason sheepishly admits the family shame, prompting an outburst from Cheryl. Seen from behind, the mysterious figure is unmoved.

Jason: We’re not… really richer than the Lodges. We’re just… better at making people think we are.

Cheryl: WHAT??

Mysterious figure (Who is it? Who?!): No matter. You’re rich enough.

3. The mysterious figure introduces Reggie, who stands against the doorway, arms folded, with a smugness that matches the Blossoms’ on their best day.

Mysterious figure (Oh, the crushing suspense!): And I’ve brought in an expert. Someone who’s been studying corporate buyouts since he was seven.

Reggie: But don’t worry. I’ll use small words to explain it.


1. Archie meets Mr. Lodge at the airport. The sun is shining on Archie’s laughable piece-of-junk jalopy. Lodge is not happy to see Archie.

Caption: "First we cut Old Man Lodge off from his company for two weeks."

Archie: Hi, Mr. Lodge! I heard you needed a chauffeur?

2. Archie and Mr. Lodge swim to shore. It’s snowing. The remains of Archie’s jalopy are sinking into the riverbed.

Archie: Sorry, sir. I was sure that last turn would take us back out of Canada!

Mr. Lodge: ((And this will be the father of my grandchildren?))

3. Smithers has greeted Jason at the doorway to the Lodge Mansion. He glances nervously behind him. Jason wears Ray-Bans, a "Geeks Rule" T-shirt, and jeans.

Caption: "Then we hire away his smartest workers."

Smithers: You want me to be… a mascot? For your search engine?

Jason: We call it

4. Veronica, deeply concerned, addresses a table of befuddled old suits.

Caption: "That will create more confusion than Grundy’s essay exams."

Veronica: Well, can’t we put the month’s expenses on Mastercard?

5. Reggie, wearing the exact same Ray-Bans, a moustache, and a suit, holds up a contract with Veronica Lodge’s signature on it.

Caption: "And then we can start tricking them into bad deals."

Reggie: I thank you, Ms. Lodge. And my company, E-Prefix, thanks you too.

6. Reggie, Jason, and Cheryl enjoy a celebratory round of drinks (non-alcoholic, duh) at Club Blossom. All are laughing. Jason and Reggie are in their costumes from the previous panels, although neither wears the shades. Cheryl waves a blonde wig and tries to get their attention with it.

Caption: "We should buy them out in no time…"

Cheryl: Oo, ooo! Now I get to represent "Cosmic Cosmetics!"


1. Veronica is letting Reggie into the front door of the Lodge Mansion. He’s brought several contracts with Veronica’s signature on them.

Caption: "…as long as we remember: we’re all in this together."

Reggie: You’ve been had, Ronnie.

2. Close on Reggie. He looks sincere.

Reggie: I’m sorry it went this far. I thought it was another practical joke… but those Blossoms are poison. They almost scare me. Almost.

3. Veronica’s hand goes over her mouth as Reggie drops the contracts onto a nearby table. They are now in one of the Lodges’ many living rooms.

Reggie: The fine print in these contracts would’ve given them 95% of Lodge Enterprises. Oh, and, um, your house. And one of Mr. Lodge’s kidneys.

Veronica: Oh.

4. Veronica sits on a large sofa, head in her hands. Reggie sits beside her, comforting her.

Veronica: I don’t know what to do… Smithers is gone, our VP quit, and somehow Archie got Daddy on a boat to Gibraltar… I can’t be trusted with the company…

5. Reggie makes a leveling gesture.

Reggie: Well, let somebody else hold the company for a few days. Someone with common sense, someone you trust. You know someone like that?

6. Both Reggie and Ronnie are beginning to smile, though not for the same reasons.

Veronica: Well, not you… but yes.

Reggie: Good.

Reggie: So. You free Friday night?


1. This diagonally divided panel features Reggie on the one side and the oh-so-mysterious stranger on the other. Reggie is at home, but the stranger is calling from a pay phone. Reggie looks thrilled at his own craftiness. The stranger is doffing his(?) hat…

Reggie: Another flawless Reggie Mantle performance. I get the girl, and the Blossoms get the blame. Everyone’s happy. Well… everyone who counts.

Mysterious stranger (Agatha Christie would weep with envy): Useful doing business with you.

2. Same division as before, though this panel is smaller. Reggie’s smile is fading, but the stranger is unmoved.

Reggie: "Useful?" What do you get out of this? Who are you anyway?

Mysterious (whatta tease) figure: I won’t insult your intelligence, Mr. Mantle. I’m sure you can figure it out.

3. Reggie consults a "Caller ID" box that says "Caller Unknown."

Reggie: ((Blast! And he must’ve found the bug I put on him, too!))

4. This diagonally divided panel features Veronica on the one side and the no-longer-mysterious no-longer-stranger on the other. Yep, it’s Betty: she’s removed her hat and glasses and is just finishing pulling off her scarf. She’s also now at home.

Veronica: Betty? I need you to do me a favor…

Betty: Sure. What are friends for?

5. This diagonally divided panel features Betty on the one side and Mickey Rensie, a businessman wearing black cow horns on his head, on the other.

Betty: Say, Mick? Still interested in using Riverdale property for the latest DizzyWorld? Since I became boss of Lodge Enterprises, we’re in a selling mood...


1. This diagonally divided panel features the Riverdale Chief of Police on the one side and Betty on the other. It’s smaller than the other diagonally divided panels.

Chief of Police: You have evidence on all three of them? Fingerprints, DNA?

Betty: None of those three can keep their hands to themselves.

2. Cheryl, Jason, and Reggie behind bars. Cheryl is reaching through the bars, her nails like claws. Jason sits against the wall, resigned. Reggie grips the bars, stunned.

Cheryl: Pig! Come back here, pig! Get scratched like a man!

Jason: ((Please, just put us in separate cells…))

Reggie: ((Why didn’t I see this coming? I’ve lost my edge!))

3. Betty carries two suitcases into the Lodge Mansion.

Betty: ((Home sweet home. Just in time for my first business meeting.))

4. Betty sits in her office, holding up a picture of Veronica. She has "gone corporate" in hairstyle and dress, but her blouse has a plunging neckline. There’s a cold anger in her eyes now, an anger that won’t die.

Caption: Two hours later…

Betty: This is a picture of the girl who used to live here. She still attends Riverdale High, for now.

5. A thought balloon to the left of Betty shows a scene from the last part: the one where Betty begs Veronica to back her up in the chem lab. However, we now see it from Betty’s perspective, with Veronica’s face completely hidden. Betty holds up the picture to three rough punks who each look like they could snap Moose’s spine.

Betty (in balloon): Ronnie, look at me!

Betty (out of balloon): Hurt her. Make sure no one ever calls her sexy again.

Thug 1 (whispering): Geez, she’s ice!

Thug 2 (whispering): Shaddap.


1. Archie storms into Betty’s office, closely followed by Smithers’ replacement (and Bingo Wilkins’ old nemesis), Tough Teddy. Teddy is dressed in a butler’s uniform but clearly out of place.

Caption: Two days later…

Archie: Betty!

Teddy: Uh, sorry, ma’am. Am I supposed to throw him out or something?

Betty: No, Teddy. You’re excused.

2. As Archie vilifies Betty, she starts pulling something out of her desk, and smiles… but the smile does not touch her eyes.

Archie: Mr. Lodge is staying with your folks! None of them can believe what’s happened! And Veronica… Veronica…

Betty: Oh dear. Was she a fashion victim?

3. Bird’s-eye view: Betty has pulled out a cigarette… but we see that the desk also contains a gun, and she has not closed the drawer.

Betty: Cigarette?

Betty: The marijuana brownies are still in the oven.

Archie: I can’t decide what’s worse, the things you’ve done, or the way you don’t seem to feel them…

4. Betty head: small panel.

Betty: You can’t decide? How like you.

5. Betty makes a sweeping gesture that brings her hand outside the panel border.

Betty: I’m trying to get noticed, Archiekins. There are powerful men denying me a future because I’m only useful to them as a good girl who never gets the guy.

6. Betty is training a gun on Archie now, still cold. Archie puts his hand up to stop her…

Betty: The deal is this: they give me my future, or I stop being good.

Archie: I can’t believe this… this can’t really be happening…

7. And what Archie has just said brings Betty to the boiling point. Betty fires repeatedly, crying even in her rage.

Betty (spiked balloon, black type on red): YES IT IS!! YES IT IS!!


Caption: The End



1. Betty’s still tear-stained, but trying to compose herself. Behind her, Veronica and Nancy gossip in hushed tones.

Veronica: Grundy and Flutensnoot?

Nancy: It could happen. They’re both single.

Veronica: Nancy, are you sure about this?

Nancy: Course I’m not sure. That’s what makes it fun!

Betty: Huh… huhh… huhhhhh…

2. Veronica notices Betty’s tears, but Betty meets her concern with spite.

Veronica: Betty! You okay?

Betty: What if I’m not? How long until you ditch me this time?

3. Veronica doesn’t know how to take this. Nancy interposes herself between the two, trying to change the subject. The full implications of Nancy's statement hit Betty like a ton of bricks.

Veronica: What?…

Nancy: Uh… Hey! Betty, have you seen Archie anywhere? Nobody’s seen him all weekend, or today, either.

Betty: …!


1. Betty stares at them like a deer in the headlights.

Betty: No.

Betty: No, I…

Betty: …haven’t.

2. Betty sits next to Archie’s empty seat in Ms. Grundy’s class, watching the seat while Grundy spells "denial" on the blackboard.

Betty: ((Not in class.))

Betty: ((He’s fine.))

3. Betty looks in Pop Tate’s and sees Midge, Moose, and Dilton–but no Archie.

Betty: ((Not in Pop’s.))

Betty: ((What if death–can’t be "swept clean" by Svenson’s broom?))

Betty: ((He’s fine.))

4. Betty looks in a darkened movie theater (shown in blues and purples). No Archie.

Betty: ((Not in the movies.))

Betty: ((What if every "Archie" story now is going to show Archie… just after his dea–?))

Betty: ((He’s fine.))

5. Betty looks at the abandoned "Archies" musical equipment. No Archie.

Betty: ((Please, I’m sorry, I didn’t mean i–))

Betty: ((He’s fine.))

6. Betty approaches the Andrews home.

Betty: ((Don’t know why I didn’t go to his house first.))

Betty: ((Maybe because that’s where I’d be most likely to find out that he was–))

Betty: ((Shut up! He’s fine!))


1. Mrs. Andrews is making casserole as she talks to Betty. Betty’s smile is transparent.

Mrs. Andrews: He went camping this weekend. Something about a documentary in the woods. He said not to be worried if he was late. Should I be?

Betty: Hahahahahaha noooo!

2. Betty runs through the woods, wheezing and puffing.

Betty: HufHuf HufHuf HufHufHufHuf

Betty: ((Notdeadnotdeadnotdeadnotdead))

3. Small panel: Betty looks up and screams.

Betty: EEEK!

4. Archie is twisted around in a huge net spread between two trees, looking like prey for some giant spider. He’s just beginning to wake up in this panel.

Archie: Zzzzz… Hm… Wha? Hey, your feathers tickle my ribs…

5. Betty is more relieved than Archie could know as she unties the knots that are suspending him in air.

Betty: Archie! I–um–I’m so glad you’re not–uh–

Betty (with little hearts): Hi.

Archie: Betty! Are you a sight for sore eyes! Or any eyes. Don’t discriminate. Everyone should get to see you.

6. Archie finishes untangling himself and gives Betty a gentle smile… but suddenly she’s as upset as before.

Archie: …Dreamed an angel came to rescue me, and here you are!

Archie: Uh… I’m calling you an angel, if you’re not clear on that.

7. Betty runs away from Archie, her arm over her eyes, as Archie calls after her.

Archie: Betty? Betty? I meant "angel" in a good way!


1. Jughead walks along, completely content with his place in the universe. Panoramic long shot: Betty’s voice comes from the other side of it. This is one of the more "urban" parts of Riverdale… big brick buildings and sidewalks.

Jughead: ((Well, this has been nice… but there’s only so many reruns a man can watch and burgers he can eat! Time for a change. Time for movies and popcorn.))

Betty: (Sniff)

2. Betty looks out at the reader, not noticing Jughead, who stands off to the side. Her eyes and cheeks are red and puffy: she’s been crying an awful lot throughout this comic.

Betty: All right. You win.

3. Betty pulls her kneecaps up to her chin, going fetal and sullen, as if nothing further can affect her. Jughead’s-eye view.

Betty: I can’t go through with it. Actions do have consequences… even if I’m the only one who’s affected. I won’t become a monster… just to become a woman.

4. A panoramic shot of Riverdale, as if Betty’s voice is audible throughout it… and to Svenson, it is.

Betty: I know you can hear me, Svenson. And I know you couldn’t make me forget before… but maybe that was because I didn’t want to forget. Try again.

5. Behind Betty, Jughead twists uncomfortably. He feels he’s under scrutiny, even though Betty isn’t paying that much attention to him.

Jughead: ((I can’t beat myself up over this. I’ve got a dream, too… and I’m living it right now! And… and she wanted to tear it down!))

Betty: I give up.

6. Small head-shot panel: Jughead turns away, still looking uncomfortable.

Jughead (whispering): Good…


This page breaks form completely with the traditional Archie layout.

1. Jughead walks away. Frontal perspective.

2. Seen from behind, Jughead stops.

3. Jughead looks over his shoulder, angrily. How dare she lay this grief on his head? Close up, viewed from behind him.

4. Jughead keeps walking, Betty visible behind him, neither of them looking at the other.

5. Jughead stops and looks over his shoulder again, less angrily. This time he’s viewed from in front.

6. Jughead’s feet turn around.

7. Jughead is standing over Betty again, but she hasn’t noticed yet. She looks dead to the world, as if nothing else can affect her. Side view, showing all of Betty and just the bottom half of Jughead.

8. Jughead squats down to a level where he can look at Betty eye to eye. Long-distance profile silhouette shot, Jughead on the right.

9. Relative close-up, large panel spanning the bottom of the page. Jughead lays a hand on Betty’s shoulder and turns her life around with four words.

Jughead: The heck you do.

Caption: The End…?

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