Thursday, October 31, 2013
Panel 1: Overhead view of a dark alleyway. A young couple is being mugged by two street toughs. One of them holds a gun. They are unmasked. The couple is afraid. (Note that this whole page takes place in the Shadow's original 1930s setting.)
SHADOW (CAP): It is easy to see evil when evil chooses to reveal itself.
Panel 2: An apartment building. One of the muggers from the first panel stands at the open door, handing over some cash reluctantly to a shady looking landlord. A depressed woman clutching a small baby is in the background.
SHADOW (CAP): But while it is easy to think of good and evil as a simple matter, such things are rarely black and white.
Panel 3: Out on the street. The landlord is handing some money to a couple of gangsters who grin smugly.
SHADOW (CAP): When one considers the larger picture -- what turns good to evil -- it can threaten to overwhelm.
Panel 4: A fancy office. The gangsters show a briefcase full of money to a greedy businessman type. He looks delighted.
SHADOW (CAP): The machinations of this world can crush upon those who seek to do good, but fall with apathy and regret before those who truly turn the wheels. And they cannot, within reason, be blamed...
Panel 5: The businessman from before, in his office, behind his desk, prepares to light a fat cigar. It is now dark.
SHADOW (CAP): Because who knows where to even begin?
Panel 6: Same as above, but now the businessman lights a match for his cigar, illuminating the Shadow behind him.
SHADOW (CAP): The Shadow knows.
END OF PAGE
Wednesday, October 30, 2013
Tuesday, October 29, 2013
An establishing shot of a New York apartment building. It's 1933, midday. The sun is beaming down on the six police cruisers parked out front. Uniformed cops are mulling about outside. There's a media presence, kept at bay by police tape.
The scum saves its worst for when the lights're out.
Monday, October 28, 2013
MAYOR (from within manor): No!
2 - Interior. Worm's-eye view. We are now inside the manor. Frame the shot to show a crumpled letter lying on top of other, unopened mail in the foreground and the mayor running in a panic up the entryway stairs in the background. Most of the letter should be unreadable, but a few choice words like "bribes", "kickbacks", "graft", and the like should be decipherable.
3 - The mayor bursts into his office, looking towards the painting above the fireplace. It is on hinges and hangs open, revealing a secret safe behind it. However, the safe is also open.
4 - The mayor goes up to the safe itself to look inside. There are maybe one or two dollar bills, but it has been emptied out. The mayor looks on in horror.
5 - The mayor slouches onto the ground, grimacing wildly and slamming his fist into the ground in frustration. He looks a right mess.
MAYOR: No! No! No!
OFF-PANEL VOICE: That's right.
6 - Reverse angle to reveal The Shadow looking down upon the prostrate mayor! Partially obscured by the house's many shadows, he stands menacingly, his piercing glare cutting through the mayor. The mayor is pretty darned scared.
THE SHADOW: The Shadow knows!
Sunday, October 27, 2013
Panel 1. In the fray of a swanky Manhattan party, Lamont Cranston, The Shadow, and Danny Rand, The Immortal Iron Fist, have bumped into each other. Cranston should be in a jet-black suit, with a red tie, and Danny should be wearing a more colorful suit that matches his colors, perhaps a dark green suit with yellow accents.
Cranston: AH, MISTER RAND. I'VE HEARD MUCH ABOUT YOU.
Rand: OH, HAVE YOU? I'VE HEARD A LOT ABOUT YOUR EXPLOITS... FROM BACK IN THE DAY.
Panel 2: Rand smiles smugly, perhaps leaning on a table.
Rand: BUT I SUPPOSE WE CAN'T ALL KEEP UP WITH THE TIMES.
Panel 3: Cranston is visibly irritated, and is using his powers of mind control, which should be depicted as subtly as can be.
Cranston: YES, MY TRAVELS HAVE TAKEN THE LION'S SHARE OF MY TIME AS OF LATE
BUT I HAVE MY WAYS OF KEEPING INFORMED. IN FACT, I'VE HEARD A LOT ABOUT YOUR... EXTRACURRICULAR ACTIVITIES.
Panel 4: Rand is using his training to resist the Shadow's mind control, and should be visibly exerting, perhaps sweating, but still trying to keep up appearances.
Rand: AND WHAT WOULD THOSE BE? WOMEN, DRINK, MARTIAL ARTS? WITH MY SCHEDULE, THERE'S A LOT OF TIME TO FILL IN THE DAY.
Panel 5: Rand and Cranston stay staring each other down, each psychically pushing against the other's mental fortitude.
Panel 6: Same POV as panel 5, Rand and Cranston, both shaken, are bidding each other goodbye.
Rand: I GUESS IF WE HAVE NOTHING TO SAY TO EACH OTHER, WE SHOULD START TALKING TO OTHER PEOPLE, WOULDN'T YOU AGREE?
Cranston: I GUESS I WOULD. BUT IN THE FUTURE, YOU SHOULD KNOW I'M NOT TO BE BRUSHED OFF LIGHTLY.
Panel 7: Danny is walking away from the conversation, visibly frazzled, sending a quick text to Luke Cage on his phone while taking a large sip of his drink.
Phone: Luke, check whrevr u can 4 a Lamont Cranston. Library, informants, th works. TTYL.
Originally the narrator of the radio show Detective Story Hour, the shadowy figure was given more of a character by Walter B. Gibson, first in pulp novels, then in his own radio show, and by 1940 his own comic strip. Since then, he's had a shaky history in comics, from pulpy period tales...
Saturday, October 26, 2013
Friday, October 25, 2013
Homer: OH, I CAN'T TELL MARGE I GOT FIRED FROM THE PLANT, SHE'LL BE SO MAD.
Panel 2: Homer is walking past a sign on one of the buildings that says WRITERS WANTED, INQUIRE WITHIN.
Homer: I GOTTA FIND ANOTHER JOB!
Panel 3: Homer is doubling back to look at the sign, and in this panel we can see the name on the building: 21ST CENTURY FOX - SPRINGFIELD BRANCH.
Homer: HEY, I CAN WRITE! I THINK.
Panel 4: Homer is inside an office at 21st Century Fox Entertainment, and an executive is talking to him.
Exec: I'M SURE YOU CAME IN HERE WITH BIG DREAMS OF BEING A HOLLYWOOD BIG SHOT, BUT THAT'S NOT HOW IT WORKS HERE.
TELL ME, HOMER, HOW DO YOU THINK WE WRITE AN EPISODE OF THE STANFORDS?
Panel 5: Homer is thinking.
Homer: WELL, IF I HAD TO GUESS, I'D SAY THERE'S A BIG SLOT MACHINE, WITH CELEBRITIES AND CURRENT EVENTS FOR EACH PLOTLINE, AND YOU SPIN IT AND WRITE AN EPISODE AROUND THE RESULTS!
Panel 6: The exec is nervous, and is contacting security.
Executive(hushed): UH, SECURITY? LOCK ALL THE DOORS AND EXITS, HE KNOWS OUR SECRET.
Executive: SO, UH, HOW'D YOU LIKE A JOB WRITING FOR US?
Homer: I'D LOVE IT!
Thursday, October 24, 2013
Panel 1: A young child, 9 or 10, lying on the floor of a cave, having just fallen. The cave is lit only by some barrels marked with the "radioactive" symbol, giving off a faint glow. The child shields his eyes.
CAPTION: "What do you fear?"
Panel 2: A man, the now-adult Claude Kane from the first panel, stands shirtless in a dojo, surrounded by men in radiation-proof suits, preparing to attack. Kane wields two glowing green rods.
CAPTION: "If you devote yourself to an ideal..."
Panel 3: Close up of Kane's hand as he puts on his glove. Note that his entire costume should be "Nolanised."
CAPTION: "If you make yourself more than just a man..."
Panel 4: Close up of Kane snapping together his utility belt.
CAPTION: "...you become something else entirely..."
Panel 5: Large. We see Kane in his full Radioactive Man suit for the first time. He looks bold, but broody.
CAPTION: (Large) "A RADIOACTIVE MAN!"
Panel 6: Slim but wide panel. Radioactive Man's silhouette stands atop a building, lit by the "Radioactive signal" in the sky behind him.
CAPTION: Coming this summer: RADIOACTIVE MAN BEGINS.
END OF PAGE
Panel 1 - Ext. Springfield Power Plant. Our p.o.v. is on the ground, looking up at MR. BURNS and SMITHERS in the office balcony; MR. BURNS is addressing his employees. We are standing behind HOMER, LENNY, and CARL.
MR. BURNS: ...and so, to avoid Obamacare altogether, all full-time employees are hereby fired...
LENNY: You suck, Burns!
CARL: (to nearby coworkers) ...without the courtesy of a reach-around...
Panel 2 - same as Panel 1.
MR. BURNS: ...to be RE-hired to work TWO part-time shifts, beginning today...
LENNY: You suck, Burns!
CARL: (to CARL) ...wait, what?
OFF-PANEL: Has this happened to you?
Panel 3: same as above, but the crowd has turned to see, now foreground, TROY MCCLURE enter from the side.
TROY: Hi, I'm Troy McClure. You might remember me from such comedies as "Hot High School Ramadan" and the third season of the Simpsons.
TROY: And scenes like the one we see here are becoming even stupider, thanks to Obamacare.
Panel 4 - same as Panel 3, except TROY has been joined by charming waif, TIMMY.
TIMMY: Gee, Mr. McClure, how did the Affordable Health Care Act become such a debacle?
TROY: Well, Timmy, the complete hash of misunderstandings are the fault of one man at the White House...
Panel 5 - a smiling TROY MCCLURE holds up an 8 by 10 glossy of Press Secretary JAY CARNEY.
TROY: ...professional shill and presidential apologist, Jay Carney.
TROY: That's C-A-R-N-E-Y, the most punchable face in America!
Panel 6 - LENNY and CARL are holding down Press Secretary JAY CARNEY, now sporting a black eye and missing a tooth, while HOMER punches him in the stomach. TIMMY shakes grinning TROY's hand.
CARL: (smiling) Say, this is fun!
TIMMY: Gee, Mr. McClure, thanks!
TROY: No problem, Timmy. Now, go kill that messenger!
CAPTION: Paid for by Canadian Health Services and the British Medical Tourism Board.
Tuesday, October 22, 2013
Monday, October 21, 2013
1. The Simpson family sits on its couch looking at each other awkwardly.
Next time on The Simpsons!
2. Homer is asking a question, confused.
Um, why are we just sitting here?
Because we have done everything. Ever. There is nothing left for us to do.
3. Close up of Homer, scratching his head.
Then why are we still here?
4. A close up of Lisa.
Because for some reason we still make money. Mountains and mountains of money.
5. A close up of Marge, sobbing.
Why won't they just let us die.
6. Same as Panel 1, but Marge is sobbing in her hands.
That's next time on The Simpsons.
The Simpsons ended for me after 8 seasons. Everything after does not exist. That is all.
Sunday, October 20, 2013
Saturday, October 19, 2013
Friday, October 18, 2013
Panel 1: Batman stands at the gates of Arkham, futzing with the locks. Nightwing is with him, watching his back in case someone tries something.
Batman: I SWEAR, THE NEXT TIME SOME SHENANIGANS GO DOWN AT ARKHAM ON HALLOWEEN, I WON'T EVEN RESPOND. IF THESE IDIOTS CAN'T RECOGNIZE A SIMPLE PATTERN, THEY'RE THE ONES WHO SHOULD BE IN THE PADDED CELLS.
Nightwing: HELL, BRUCE, I DIDN'T KNOW TRICK OR TREATING WITH DAMIEN MEANT SO MUCH TO YOU. SUCH A DEVOTED FATHER.
Batman: DICK, YOU MAKE ONE MORE CRACK AND I-
Panel 2: POV from the door of Arkham. Batman and Nightwing are running through the path up to the main door of the gothic mansion-turned-asylum as turret robots in goofy halloween costumes rise up from the lawn.
Batman: HURRY, NIGHTWING, WE MAY GET INSIDE BEFORE THEY START FIRING!
Nightwing: ON IT, BATS!
Panel 3: POV from behind Nightwing and Batman as they enter the asylum, and see that it has been turned into a hall of mirrors.
PA: AH, BATMAN, GOOD TO SEE YOU BROUGHT SOME MORE GAME FOR THE HUNT!
Batman: YOU'RE NOT GETTING AWAY WITH THIS, JOKER!
Batman: UH... THE GUY. THE GUY WITH THE TRAPS AND THE... PURPLE?
PA: IT'S DEADSHOT! THE ONE WITH THE SCOPE EYE?
PA: ANYWAY, THE ONLY WAY YOU'LL BE ABLE T-
Batman: -TO RESCUE THE STAFF AND INMATES IS TO BEST THE MANY TWISTS AND TRICKS OF MY HAUNTED NOT-SO-FUN-HOUSE.
Panel 4: We see Batman solemnly standing by the doors where he was in panel 3 as Nightwing smirks at him.
Batman: YOU REALLY ARE THAT PREDICTABLE.
Nightwing: AND YOU'RE A BIG OL' HALLOWEEN HUMBUG.
Batman: SHUT UP.
A terror tale for the teller.
(...and here's the rest...)
To the list of Arkham's guests
Was a vicar, and a descendent
Of the mad Herbert West.
Through priestly conviction
And the patience of a saint
He made his way to the basement,
And using his blood for paint,
In spirals and curves
While he jibbered in Latin
And gestured in swerves.
But what to his wondering eyes should appear?
A caped 8-foot Demon who grinned back with a leer.
His yellow carapace skin so oily and wan,
He knew in a moment, he summoned Etrigan.
"Pater West," the Demon canted
"What is it you want?
I have a human cage
To torment and taunt."
The priest wanted revenge upon the Gotham congregation.
Their children were vanishing, and Gordon's investigation
Led them to a loose floorboard or two in the pews,
Revealing Father West's collection of little shoes.
"Police feet are beating, like a poor drummer drumming.
Etrigan, you must stop the GCPD from coming!"
The Demon tut-tutted, and strategized a plan,
Then said to this very un-Christian-like man:
"I'll do as you ask, but understand, there's a fee.
So don't get too attached to your humanity..."
Up the stairs, through the madhouse, he bounded the floors,
Unlocked all the locks and threw open the doors,
He bound up his favourites in dark admiration,
Calling them by their villainous appellations:
"Now Joker, now Riddler, now Ivy and Two-Face!
Now Penguin, now Grundy, now Firefly and Clayface!
Dash every cop head against every brick wall!
Now dash away, dash away, dash away ALL!!!"
His coursers, they flew like bats from a cavern.
They burnt down a precinct, killed two in a tavern.
They overturned cruisers and set them on fire,
Bane strangled a bike cop with his spare tube and tire.
And Etrigan just watched from atop Arkham's roof.
If you've wondered if Gotham's insane, here's your proof!
Sooner or later, though, the fun comes to an end,
Whether Gordon's boys in blue, or his other long-eared friend.
The night went from evil, to bad, to untoward,
And honestly, Etrigan began to get bored.
So wiggling a finger up into his nose,
The Demon went back to the priest and his woes.
But I heard him exclaim as he dragged West out of sight:
Thursday, October 17, 2013
Wednesday, October 16, 2013
Tuesday, October 15, 2013
Inside Arkham Ayslum's subterranean wing - reserved for its most dangerous inmates we focus on an open cell door. It's THE JOKER'S cell. There are several workers standing outside it, visibly reluctant to set foot inside.
Monday, October 14, 2013
1. A woman, Amanda Mandris (new character) stands at a corner inside Arkham Asylum. She is dressed in a white lab coat, with sensible casual clothes underneath it. To her side, cowering behind her is an attractive, jock-type male (Benny Thompson - new character). He is scared. Amanda, while also scared is thinking logical about the situation.
What's going on? How did this happen?
We're in Arkham Asylum. The place that has held at some point almost every super villain on the planet.
2. Reverse angle - A large hall. It shows bodies on the floor while others try to flee. The inside is contorted, as if the walls themselves are moving.
Psychopaths, mystics and who knows what else have all come here to have their madness treated and assessed.
3. View of the outside of Arkham. It is alive, moving and and changing. 'Fingers' made of tree roots grab and stab at some villains as they run from the horrifying site.
It was only a matter of time before all that power and madness manifested in other ways.
Sunday, October 13, 2013
Panel 1: Establishing shot of Arkham Asylum, looking as ominous as ever.
BRIGGS (CAP): "Tell me about Arkham Asylum."
Panel 2: POV from across an interview table. Harley Quinn sits on the other side, wearing a straightjacket. Her hair is in pigtails and she has crudely tried to recreate her mask with make-up. She cocks her head, as if talking casually.
HARLEY: This is the last place I expected to fall in love. I mean, it doesn't seem like the kinda place where love is found, ya know?
CAPTION: Dr. Harleen Quinzel.
CAPTION: "Harley Quinn."
CAPTION: Former psychology intern, Arkham Asylum.
Panel 3: Same POV. This time, Jonathan Crane sits in the chair, also straightjacketed. He has a bag over his head as a makeshift Scarecrow mask. He stares coldly out the eyeholes.
CRANE: There is fear at first though. Always fear. But the longer you stay, the less you fear.
CAPTION: Dr. Jonathan Crane.
CAPTION: "The Scarecrow."
CAPTION: Former staff psychiatrist, Arkham Asylum.
Panel 4: Same POV, this time it's Lyle Bolton, the C-list villain Lock-Up. He wears a straightjacket too, but with heavy restraints as well. He has an intense look on his face.
BOLTON: Y'see, Doc, all that stuff about Arkham's "revolving door" isn't quite true. We keep getting out, sure, but we keep coming back, don't we?
CAPTION: Lyle Bolton.
CAPTION: Former Chief of Security, Arkham Asylum.
Panel 5: Same POV, this time Hugo Strange in the straightjacket. He has a wicked grin.
STRANGE: Arkham Asylum eats away at your identity, Doctor, until there is nothing of yourself left. Until you cannot live outside these walls. Until you are Arkham.
CAPTION: Professor Hugo Strange.
CAPTION: Former Head of Psychology, Arkham Asylum.
Panel 6: Same POV, now Jeremiah Arkham. Again, in a straightjacket. He has drawn a black skull on his face and is laughing maniacally.
ARKHAM: My great-great-uncle knew it when he had this place built! Even he was swallowed up by the madness within!
ARKHAM: You see, Doctor, no one really escapes the asylum...
CAPTION: Dr. Jeremiah Arkham.
CAPTION: "Black Mask."
CAPTION: Former Administrator, Arkham Asylum.
Panel 7: Reverse POV. Dr. Briggs, a young psychiatrist who has been conducting these interviews. He looks extremely nervous.
ARKHAM (O.P.): Not even the staff!
CAPTION: Dr. Simon Briggs.
CAPTION: Staff psychiatrist, Arkham Asylum.
CAPTION: 27 days sane and counting...
END OF PAGE