Page 22: 6 panels.
Panel 1
We OPEN in the dimly lit courtyard of a crumbling temple, somewhere deep in the jungle. A few of the murals and patterns on the columns depict lizards and reptiles in various forms.
Moonlight shines down from the black, cloudless sky with a few scattered wall mounted TORCHES providing the only other light.
A FIGURE bathed in shadow paces back and forth. On the floor and scattered around the panel are various GLASS JARS. Each of them have a lizard in them. Some scramble to get out, others sleep, others are dead.
Temple reference: http://www.sacred-destinations.com/cambodia/images/angkor/ta-prohm/resized/tree4-cc-beggs.jpg
FIGURE: They want the formula, don’t they?
Panel 2
ZOOM IN on the figure. He has stopped, turning to face camera. Part of right arm is revealed by the light.
The arm’s skin is scaly, green in places but not entirely.
FIGURE: It’s gone.
FIGURE: I’m all that’s left.
Panel 3
CUT TO a CLOSE UP of some of the jars on the courtyard floor. One of the lizards climbs up the side of the jar, stretching its head towards the top.
CAPTION: “Leiolepis Ngovantri. Fascinating creatures. Capable of reproducing a complete, perfect genetic clone of themselves.”
Panel 4: Wide panel
CLOSE UP on the figure as he steps into the light for the first time, facing camera-- it's CURT CONNORS.
He’s still partially covered in shadow with only the right hand side of his face visible. Parts of his face are covered in the same green scaly patches we saw in the second panel. He’s wearing a tattered white lab coat, smeared with blood and dirt and a pair of combat issue trousers.
CONNORS: Nature has so much to teach us.
CONNORS: We’ve lost our way; a corrupt rabble fascinated by wealth, power and posturing.
CONNORS: We need to go back. Give ourselves over to our primal nature.
Panel 5: Worms eye view.
Connors steps into the light some more, revealing the entirety of his face. The same scaly patches persist all over, clumps of his hair seem to have just fallen out.
This is offset by the set of white teeth he flashes as he smiles, looking slightly down towards camera as he does so.
CONNORS: I have.
CONNORS: You have too.
Panel 7: Wide panel
CLOSE UP on a young and bloodied FRANK CASTLE, looking up at camera with a piercing stare.
NB: This is the Punisher MAX version of the character. Continuity wise this would be around the time of the Tiger scene in Tyger Tyger where it’s hinted Frank carried out a lot of black bag jobs in country.
Reference for Frank’s clothing: http://3.bp.blogspot.com/_DeL0kCsBOGk/TQBo5F6B6NI/AAAAAAAABaY/J5uXOFpcNaY/s1600/Vietnam_p01.jpg)
CONNORS (CAPTION): “I can see it in your eyes.”
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This may be my favourite script from you yet. It really hints at a much bigger story, on both sides, Connors and Castle. The temple reference sets just the right mood, accented well by the broken jars. It's got that whole Yeats thing going: Everything falls apart. Devolution. Visually, this has a great Wrightson vibe.
ReplyDeleteGreat stuff! (Gonna have to step up my game ths week...)
Love the way this reminded me of one of the very earlier Lee-Ditko Lizard stories in its setting (don't have time to check now - but was it the character's debut?) and yet it was so bang up to date ad contemporary in tone. Great use of the Punisher too. Excellent work, Dan.
ReplyDeleteOoo. This one gives me chills, Dan. It's just so tight. A perfect use of the character and a great way to introduce him into the Punisher MAX world. The dialogue you gives Connors fits to a T, and I like how he correctly identifies that he and Castle aren't as different as appearances would lead one to believe. Top notch.
ReplyDelete