The talented -play-at-home all stars have been at it again with this week's choice of the Punisher. It's great to see the community building and more people just lobbing up a comment in the WHY...? post and having as much fun as we are.
This week we were joined by Danial Carroll, Marc, and Ivan Antonio who all brought something different to the table of Frank Castle. Hit the jump to read their great scripts.
"HUNTING SEASON" by Danial Carroll
PANEL ONE, PAGE-WIDTH
Clint Barton (aka Hawkeye) and Frank Castle (aka The Punisher) are walking through a forest. Clint is holding a bow and has a quiver strung over his shoulder, while Frank has a black duffel bag on his back.
PANEL TWO
Close-up on Clint, his finger to his mouth and his other hand held up in the military "hold" position.
CLINT (whisper): Shhhhh. I can hear something.
PANEL THREE
Clint is drawing his bow. Frank has his bag open on the ground and is reaching into it.
PANEL FOUR
From over Clint's should we see a deer off in the distance.
CLINT (whisper): There it is. I'm going to take the sh--
FRANK (O/P): It's OK, I've got this.
PANEL FIVE
The whole frame is filled with SFX.
SFX: BLAM
SFX: RATATATATAT
SFX: BOOOOM
SFX: WHOOOOSH
PANEL SIX, PAGE-WIDTH
From high up above the forest we can see a large circular clearing in the trees, a thin cloud of smoke and dust drifting up from it.
CLINT (cold): I am never taking you hunting again.
and
"DANGEROUS" by Marc
PANEL ONE
Night. From behind his shoulder we see Frank Castle (the Punisher) training a pair of binoculars on Professor Xavier’s School for Gifted Children. He is unarmed, aside from a hunting knife in his belt. All is quiet and still.
CAPTION: So you think you can take me out when my guard’s down and just walk away, huh? That I won’t find you? Wrong.
PANEL TWO
Close-up on Frank’s face as he lowers the binoculars. Three ugly, blood-red scars extend from his left temple to the lower right side of his face – claw-marks. His features are contorted into a vengeful sneer.
CAPTION: I’m coming for you, you hairy little freak.
PANEL THREE
Frank leaps easily over a fence on the border of the estate.
CAPTION: This security system is a joke. Even Charlie knew how to set up a decent perimeter.
PANEL FOUR
Frank crawls past a hedge stealthily, his head almost touching the ground. Two mutant students, a boy and a girl, gaze obliviously into each other’s eyes on the opposite side of the hedge. The mansion’s main door is in sight.
CAPTION: Charlie didn’t have an adamantium skeleton, of course. But even that won’t save you. Not from me.
PANEL FIVE
Close-up on Frank’s knife as he draws it from his belt.
CAPTION: And not from this. Pure vibranium, Logan. “The best there is.”
"DANGEROUS" by Marc
PANEL ONE
Night. From behind his shoulder we see Frank Castle (the Punisher) training a pair of binoculars on Professor Xavier’s School for Gifted Children. He is unarmed, aside from a hunting knife in his belt. All is quiet and still.
CAPTION: So you think you can take me out when my guard’s down and just walk away, huh? That I won’t find you? Wrong.
PANEL TWO
Close-up on Frank’s face as he lowers the binoculars. Three ugly, blood-red scars extend from his left temple to the lower right side of his face – claw-marks. His features are contorted into a vengeful sneer.
CAPTION: I’m coming for you, you hairy little freak.
PANEL THREE
Frank leaps easily over a fence on the border of the estate.
CAPTION: This security system is a joke. Even Charlie knew how to set up a decent perimeter.
PANEL FOUR
Frank crawls past a hedge stealthily, his head almost touching the ground. Two mutant students, a boy and a girl, gaze obliviously into each other’s eyes on the opposite side of the hedge. The mansion’s main door is in sight.
CAPTION: Charlie didn’t have an adamantium skeleton, of course. But even that won’t save you. Not from me.
PANEL FIVE
Close-up on Frank’s knife as he draws it from his belt.
CAPTION: And not from this. Pure vibranium, Logan. “The best there is.”
PANEL SIX
Frank stands silhouetted in the doorway of the mansion.
CAPTION: Piece of cake. Come out, come out—
PANEL SEVEN
Close-up: light emanates from beneath a door in the hall.
CAPTION: Aha.
Frank stands silhouetted in the doorway of the mansion.
CAPTION: Piece of cake. Come out, come out—
PANEL SEVEN
Close-up: light emanates from beneath a door in the hall.
CAPTION: Aha.
PANEL EIGHT
Frank leaps into the doorway of the lit room, knife at the ready, a look of pure death in his eyes.
CAPTION: No guns, Logan. I’m going to carve you up like a Christmas turkey, just like you did to me. And I –
PANEL NINE
Same shot, but Frank is whirling his head towards the door, which has slammed shut behind him.
Frank leaps into the doorway of the lit room, knife at the ready, a look of pure death in his eyes.
CAPTION: No guns, Logan. I’m going to carve you up like a Christmas turkey, just like you did to me. And I –
PANEL NINE
Same shot, but Frank is whirling his head towards the door, which has slammed shut behind him.
SFX: SLAM!
CAPTION: Huh? What –
PANEL TEN
Over-the-shoulder shot. Frank is standing in a bare, high-ceilinged chamber. A giant Sentinel robot towers over him. For the first time, he is at a loss for words.
SENTINEL (robotic monotone): HOSTILE LIFEFORM DETECTED. INITIATE TERMINATION SEQUENCE.
CAPTION: Huh? What –
PANEL TEN
Over-the-shoulder shot. Frank is standing in a bare, high-ceilinged chamber. A giant Sentinel robot towers over him. For the first time, he is at a loss for words.
SENTINEL (robotic monotone): HOSTILE LIFEFORM DETECTED. INITIATE TERMINATION SEQUENCE.
PANEL ELEVEN
Wolverine is leaning back on a chair in the Danger Room control center, his hands behind his head and his feet on the control panel. His mouth is open in laughter as he watches a terrified Frank cower before the Sentinel on a video screen.
Wolverine is leaning back on a chair in the Danger Room control center, his hands behind his head and his feet on the control panel. His mouth is open in laughter as he watches a terrified Frank cower before the Sentinel on a video screen.
and
“Punisher: Abuse” by Ivan Antonio
Context: Timeless “classic Punisher” story. Probably MAX imprint because of content. Something similar has probably been done before, but I wouldn’t know as I haven’t read Punisher in ages.
I wanna try something different this time. Instead of breaking down the page into panels, I’m gonna write “scenes”. The arrangement of these “scenes” into panels is entirely up to the artist (or the reader, in this case).
Scene 1. A black luxurious car pulls over in a dark alley.
Scene 2. In the alley’s shadows, we see two shadowy figures. The first one is a big man in a red hoodie, that’s all we can make out. The second one is much shorter, a child. Give her a detail that establishes her as a girl: pink clothing, braid, ribbon in her hair, I don’t know. The man is holding the girl by her hand.
Scene 3. A henchman opens one of the car’s backdoor, from which a distinguished gentleman emerges. Fat old guy with a mustache and grey hair, or balding.
OLD GUY: Punctual as usual, my friend. I see you’ve got my company for this evening.
HOODIE: Yeah. Got the cash?
“Punisher: Abuse” by Ivan Antonio
Context: Timeless “classic Punisher” story. Probably MAX imprint because of content. Something similar has probably been done before, but I wouldn’t know as I haven’t read Punisher in ages.
I wanna try something different this time. Instead of breaking down the page into panels, I’m gonna write “scenes”. The arrangement of these “scenes” into panels is entirely up to the artist (or the reader, in this case).
Scene 1. A black luxurious car pulls over in a dark alley.
Scene 2. In the alley’s shadows, we see two shadowy figures. The first one is a big man in a red hoodie, that’s all we can make out. The second one is much shorter, a child. Give her a detail that establishes her as a girl: pink clothing, braid, ribbon in her hair, I don’t know. The man is holding the girl by her hand.
Scene 3. A henchman opens one of the car’s backdoor, from which a distinguished gentleman emerges. Fat old guy with a mustache and grey hair, or balding.
OLD GUY: Punctual as usual, my friend. I see you’ve got my company for this evening.
HOODIE: Yeah. Got the cash?
Scene 4. Old guy going through his wallet, while directing a wicked grin over to the girl.
OLD GUY: Right here, my good man.
OLD GUY: Now, let me take a closer look…
Scene 5. The old guy has stepped into the shadow to inspect the girl, but what he sees is the cold, plastic face of a mannequin.
OLD GUY: (Empty speech balloon. Maybe an asterisk)
OLD GUY: Now, let me take a closer look…
Scene 5. The old guy has stepped into the shadow to inspect the girl, but what he sees is the cold, plastic face of a mannequin.
OLD GUY: (Empty speech balloon. Maybe an asterisk)
Scene 6. Hoodie pulls a machine pistol from inside his jacket, and we see a glimpse of that particular skull insignia as he mows down the old guy’s henchmen.
Scene 7. The Punisher, hoodie still on but skull now clearly visible, towers over the old guy with a very angry grimace.
PUNISHER: Enjoy your company, you sack of shit.
Scene 8. The Punisher beats the guy to death with the mannequin. Make this GROSS. Spread through many small panels if you feel like.
Scene 7. The Punisher, hoodie still on but skull now clearly visible, towers over the old guy with a very angry grimace.
PUNISHER: Enjoy your company, you sack of shit.
Scene 8. The Punisher beats the guy to death with the mannequin. Make this GROSS. Spread through many small panels if you feel like.
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