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A comparison between Munch’s picture (‘The Scream’) and Paul Thomas’s editorial cartoon (‘The Scream after Munch’) published in The Daily Express on September 13, 2001, makes it possible to show clear differences, but also unexpected correspondences between the two modes of expression. Mainly: concerning differences, an inverted system (a centrifugal, open and problematic one with Munch, a centripetal, circular, evidence prone one with Paul Thomas); and concerning correspondences, the status of ekphrasis and its influence on interpretation (an explicit one with Thomas, an implicit one with Munch), the binary treatment of reality with both. The general lesson is that the press cartoon cannot exist outside its exchange with the pictorial hypotext, but conversely the latter is so to speak bared by the the former’s more brutal and explicit approach.