The Shadow - Where Evil Lurks - J.D. Coughlan

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

The Shadow – In: The Chest from The Tomb of Forgotten Evil – Shaun Richens.

PAGE ONE – 6 PANELS.

1.1

Wide panel. Int. A dockland warehouse at night. Rain lashes past the open windows as lightning breaks across the black canvas of the evening sky.

A group of four gang members in dockworker gear carry a huge and ornate chest. A fifth member, the LEADER stands by screaming orders at them as he smokes a large, fat cigar.

LEADER:

Hurry up you worthless weasels. We ain’t got all night to load this up.

THE SHADOW (O/P):

Actually chaps I’d rather you placed that beautiful chest on the ground.

1.2

Page wide. Reveal shot of the SHADOW. He stands on a steel beam that runs across the warehouse roof. His balance is perfect, his coat and scarf blow in the strong night breeze. His arms rest crossed over his chest, his hands inside his coat holding onto the handles of his pistols, ready to draw them if needs be.

THE SHADOW:

That chest neither belongs to you nor your employers. Now you know who I am and what it is I can do. I give you all the chance to see the sun rise.

THE SHADOW:

Simply leave.

1.3

Cut to the four gang members as they bend over to put the chest on the floor.

NO COPY

1.4

The four-gang members file out past the shocked leader, who stands wide eyed and mouth a gasp holding his still lit cigar in hand.

GANG MEMBER:

Sods this. That’s the bloody shadow.

1.5

Close up on the gang leader who simply shrugs.

LEADER:

Ya know what take the blasted chest. They don’t pay me enough to deal with this.

1.6

Close up on the shadow.

THE SHADOW:

Well that’s a turn up for the books.

The Shadow – MK Stangeland Jr. Presents “Say What?!” Featuring: The Shadow! – MK Stangeland Jr.

(6 Panels)

Panel 1: THE SHADOW knocks a gun out of a gangers hands.

TEXT BOX: Imagine if…

THE SHADOW: Denied!

Panel 2: THE SHADOW punches a nazi in the face.

THE SHADOW: NEIN!

Panel 3: THE SHADOW holds the body of a recently slain ally in his arms. He shouts to the sky.

THE SHADOW: NOOOOOOO!

TEXT BOX: THE SHADOW ‘NO’s!

Panel 4: Three police officers are near a dark allyway.

TEXT BOX: Meanwhile…

LEAD OFFICER: Be on the lookout, boys. I think we might have an interloper.

OFFICER 2: But all I see are the shadows.

Panel 5: Some kind of natural progression from PANEL 4.

LEAD OFFICER: Exactly. And I saw the outline of a schnoz I’d recognize anywhere.

OFFICER 3: You don’t mean…?

LEAD OFFICER: That’s right…

Panel 6: Emphasis on LEAD OFFICER’s face.

LEAD OFFICER: THE SHADOW’S NOSE!

(END PAGE)

(*Rimshot*)

The Shadow - The Darkness in Apartment 3C – Simon McDonald

PANEL ONE
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.

 

CAPTION

The daylight means something.

 

PANEL TWODetective Lemonski - new character, don't go Googling - is trudging up the narrow staircase. Dressed like a 1930s cop would be. There're beads of sweat on his brow, a grimace on his face.

 

CAPTION (1)

I was thinkin' this before I knew the victim.

 

CAPTION (2)Don't get many calls durin' the day.
The scum saves its worst for when the lights're out.

 

PANEL THREE

Lemonski has reached the third floor. A door marked 3C is open. There's a cop presence up here too, all ashen faced.

 

CAPTION (1)

Lot of blue, so I know this is a cut above my usual fare.

 

CAPTION (2)

I'm thinkin' it's a city official. Maybe the mayor.

 

PANEL FOUR

Tight on Lemonski's face. Despite the murder scene and the sweat on his face, there's a hint of a smile.

 

CAPTION (1)

I'm thinkin' that wouldn't be so bad.

 

CAPTION (2)

A case t'make my name.

 

PANEL FIVE

Inside the apartment there are four corpses tied to chairs. They are all wearing The Shadow's iconic garb. And each has suffered a double-tap to the chest.

 

LEMONSKI

Aw Christ.

 

CAPTION (1)

Yeah.

 

CAPTION (2)

The mayor would've been better.

The Shadow - Due Reward - Grant McLaughlin

1 - Night.  Establishing shot of Gracie Manor, the Mayor of New York's official residence.  There are few lights on within.  The night is dark and stormy.  A moody and atmospheric time.

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.

MAYOR: No...

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.

MAYOR: No!

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.

MAYOR: Nonono!

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!

The Shadow - Black And Yellow - Niel Jacoby

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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
(link)
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.

Why The Shadow?

Who knows what evil lurks in the hearts of men?

The Shadow knows!

When we think of the Halloween season, we think of Frankensteins, Draculas, and Lons Chaney, the classic horror monsters of years past. But I decided to take a different tack with my Halloween pick, choosing another character who can't die and goes bump in the night: The Shadow.

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...

...to violent tales where the character was relocated to modern times...

...to... this.

And that's just his time at DC. So there's no strict guidelines as to tone, so go wild! And if you want to join in at home, the comments section is open.

The Simpsons – Secrets & Lies – Brian Manton

9 panel grid

1.

Security cam angle of Bart sitting in Homer’s control room at the power plant. He is typing on Homer’s computer.

Bart:  D-O-N-U-T-S

2.

Medium shot of Bart, looking determined and vengeful.

We can see the door is closed behind him.

Computer (OP, jagged):  “Password Accepted”

3.

Cropped view of the screen - an email compose window.

To: c.m.burns@springfieldpp.com

Cc: w.j.smithers@springfieldpp.com

Subject: You Suck!

4.

Same shot as p2.

Medium shot of Bart, laughing to himself.

We can see the door is closed behind him.

Computer (OP, jagged):  “Message Sent”

Bart:  Mwahahahaaa!

5.

Large panel. We can see a list of Homer’s emails. The layout is like gmail format where we see: sender name - subject in bold - and a snippet of message content. The first message is highlighted as new.

Computer (jagged):  “You have one new message.”

UNREAD: Lenny & Carl - Secret Plan - Meet us at the tire fire at midnight. Bring the you-know-what...

Marge - Hi Homie, I’m emailing you - did you get it?

Lisa - Act of Futility - This is a reminder to come to my recital on Tuesday.

UNREAD: All Staff Distributor - URGENT: Safety Precaution - Immediate action required...

El Barto - El Barto - El Barto.

Canteen - Stop it - Just stop it.

Flanders - Hididdleeho Neighborino - Isaiah 43:25-26 "I, even I, am he who blots out your transgressions...

Bart (OP):  Secret plan, eh?

6.

Same shot as p2/4.  Homer is coming through the door in the bkg. His eyes are blocked by the lid of the open donut box he is carrying.  Bart looks over his shoulder, startled.

The Simpsons - Dim Light, Small City - Niel Jacoby

Panel 1: Homer is walking down the street, despondent after losing his job yet again.

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.
(LINK)
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!

The Simpsons - Radioactive Man Begins - J.D. Coughlan

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

The Simpsons – Family Matters – Shaun Richens.

PAGE ONE – 7 PANELS.

1.1

EXT. The First Church of Springfield. It is a bright, crisp and clear morning.

The sign outside the church reads:

Today:

Wedding.

Sunday:

Salvation Salsa Lessons. Learn to Jive like Jesus.

REVEREND LOVEJOY: (From inside the church)

We are gathered here today.

1.2

Cut to inside the church, an aged Reverend lovejoy stands at the pulpit. His hair is greying and his face is wrinkled. He looks happy though.

REVEREND LOVEJOY:

To join these two young lovebirds in holy matrimony.

1.3

Close up on the bride, an older very beautiful LISA SIMPSON. She wears an elegant and classy wedding dress, she smiles warmly at her future husband (who is off panel.)

NO COPY

1.4

Cut to a two shot of HOMER and MARGE SIMPSON. They sit in the front row of the church; they are dressed up in all their finniest for their daughter’s big day. Homers stubble is greying and he wears small reading classes, bar a few wrinkles and the blue tint of her hair having faded slightly Marge is still a vision of beauty.

Older versions of MOE, DOCTOR HIBERT, BARNEY, APU and NED FLANDERS can be seen in the seats behind.

A tear rolls down Homers cheek from under his glasses.

MARGE:

Are you crying Homey?

1.5

Cut to close up on Homer who is quickly wiping the tear away.

HOMER:

Uhh no.

1.6

Repeat of the two shot from 1.4. Homer is now crying even more, Marge has linked her arm into his and nuzzles her head into her dear husbands shoulder.

HOMER:

She looks just as beautiful as you did on our wedding day.

HOMER:

I’m so glad she got your looks.

MARGE:

Oh homey still the sweet talker.

1.7

A page wide panel, a beautifully framed photo sits on the mantle piece in the Simpsons living room.

The photo shows old couple Homer and Marge, they stand either side of the grown up Lisa in her wedding dress. A grown up BART stands next to his mother, his arm around her pulling her close. He wears a very nice suit, which he fills out well, now sporting a belly very similar to his fathers. A teenage MAGGIE stands next to Homer. She wears a very elegant bridesmaid dress, but with big black doc martin boots, this is punk rock teen Maggie.

The sun is shining in the photo and the whole family smile enjoying the moment.

NO COPY.

The Simpsons - PSA - R.A. Wonsowski

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...

HOMER:  D'oh!!

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...

HOMER:  D'oh!!

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.

The Simpsons - A Retort - Grant McLaughlin

1 – Homer stands on top of a high building (since I can't really think of any high buildings in Springfield, maybe it's one of the big stacks at the Nuclear Power Plant?). He has a hand cover his eyes and is in the process of stepping off the building to kill himself. Frame this to give an idea that Homer is high up and the fall will not do him good.

HOMER: Goodbye, cruel w--

VOICE (off-panel): Homer, wait!

2 – Switch to an over the shoulder shot looking toward Homer. He stops, looking up in awe and surprise, as the figure whose shoulder we're looking over is none other than Superman (please note that in this and subsequent panels, we should not be able to see below Superman's belt unless noted otherwise).

HOMER (big letters to show his surprise – maybe do it up as the Superman logo) (1): Superman?!

HOMER (regular size letters) (2): What are you doing here?

3 – Superman floats awkwardly in front of Homer, scratching the back of his head in that embarrassed way people do.

SUPERMAN (1): I would have been here sooner, but this town is almost impossible to find.

SUPERMAN (2): ...

SUPERMAN (3): Uh, I mean, I'm here to help! What's wrong?

4 – Focus on Homer as he bares his soul to Superman.

HOMER (1): I don't know. Instead of really living my life, lately it feels like I've only been going through the motions.

HOMER (2): I'm starting to wonder if my kids will ever grow up.

HOMER (3): And it feels like I disappoint Marge on a weekly basis.

HOMER (4): It's as if everything has been stuck on repeat for God knows how long.

5 – Superman looks at Homer with patience and understanding.

SUPERMAN (1): I understand. We all live through hills and valleys.

SUPERMAN (2): And while the hills can be so high they feel like mountaintops, the valleys can be so low it feels like there's no bottom to hit.

SUPERMAN (3): But lows – no matter how low – don't mean that highs never happened or even that they'll never come back.

6 – Superman puts a hand on Homer's shoulder in a reassuring manner. Superman smiles a small smile of hope, which Homer is starting to feel as well.

SUPERMAN (1): Everyone feels that way sometimes, but it's never as bad as it seems.

SUPERMAN (2): Trust me.

7 – Homer and Superman hug. It's heartfelt as all get out.

HOMER: Thanks, Superman.

8 – Pseudo-repeat of panel 7. Homer continues the hug, but his question to Superman causes Superman to open his eyes in awkward surprise.

HOMER (1): ...

HOMER (2): What's up with your pants?

9 – Focus on Superman. Full body shot that reveals he's actually in his New 52 getup and not the classic Superman Underwear On The Outside look that you might expect (or hope for). Superman looks awkward again.

SUPERMAN: Let's just say you're not the only one going through a low right now...

-----------------------------------------------------------------------

I was thinking of something else originally, but I felt the need to provide some sort of defense to The Simpsons in light of Ben's script.  While I haven't watched the show on a regular basis in quite some time, dead after Season 8 seems a little too strong for my blood.  But to each their own.

The Simpsons - Next Time - Ben Rosenthal

1.  The Simpson family sits on its couch looking at each other awkwardly.

CAPTION
Next time on The Simpsons!


2.  Homer is asking a question, confused.

HOMER
Um, why are we just sitting here?

LISA
Because we have done everything.  Ever.  There is nothing left for us to do.


3.  Close up of Homer, scratching his head.

HOMER
Then why are we still here?


4.  A close up of Lisa.

LISA
Because for some reason we still make money.  Mountains and mountains of money.

5.  A close up of Marge, sobbing.

MARGE
Why won't they just let us die.


6.  Same as Panel 1, but Marge is sobbing in her hands.

CAPTION
That's next time on The Simpsons.

----------------------------------------------------------------------------------------------------------------------

The Simpsons ended for me after 8 seasons.  Everything after does not exist.  That is all.

The Simpsons – Revenge of the Treehouse of Horror! – MK Stangeland Jr.

(7 Panels)

PANEL 1: MARGE, LISA, BART, and MAGGIE are at the kitchen table, with BART and LISA at the table, MAGGIE in her high-chair, and MARGE standing over them.

MARGE: So do you kids have any plans for Halloween eve? Maybe telling ghost stories in the tree house?

BART: Aw Mom, telling tree house ghost stories is so 1990s.

PANEL 2: Exterior, outside the kitchen. The Simpsons backyard treehouse should be visible.

LISA: (From Inside) These days we all tell ghost stories over social media. Like Twitter.

PANEL 3: Center view on the TREEHOUSE. It looks saddened.

PANEL 4: Same as PANEL 3, but the TREEHOUSE has shifted from sad to angry.

PANEL 5: The tree with the TREEHOUSE in it picks itself out of the ground, its trunk splitting far enough down to basically form two legs and its branches forming something resembling arms – the TREEHOUSE should effectively form its face/head. The entirety of it all should effectively form a TREEHOUSE MONSTER.

TREEHOUSE MONSTER: RAWR!

SFX: GrrrrRMMMP!

SFX: grRIPP!

SFX: rumblrumbl

PANEL 6: Interior of the kitchen. The TREEHOUSE MONSTER rips the kitchen wall off towards outside.

TREEHOUSE MONSTER (1): RAAAAH!

TREEHOUSE MONSTER (2): Abandon me, will you!?

MARGE: Eeek!

BART & LISA: AAAAH! Treehouse of Horror!

PANEL 7: TREEHOUSE MONSTER tries to squeeze its way into the kitchen. BART, LISA, and MARGE rush out of the kitchen, with MARGE carrying MAGGIE.

TREEHOUSE MONSTER: I’ll show you a treehouse of horror!

MARGE, BART, & LISA: AAAAAA!

(END PAGE)

Why The Simpsons?

What do you say about a juggernaut like The Simpsons that hasn’t been said already?

You can’t, really. In my home country of the US, at least, they’re practically ingrained into the popular culture, and you probably wouldn’t have too much difficulty finding someone who could at least recognize the faces of Homer, Marge, Bart, Lisa, and Maggie around most the rest of the modernly civilized world.

While it can be argued whether the shows currently quality means it should have gone off the air years ago, it would be more difficult to argue against the impact they’ve made during the process of becoming one of the longest-running TV shows ever, from creating words and phrases that have become entrenched in the English lexicon to the great many moments across their 500+ (AND COUNTING!) episodes that still resonate years (or even decades![!!!]) later.

The real reason why it’s The Simpsons, though?

Because with their yearly Treehouse of Horror episodes, it seemed like a reasonably segwayed follow up to last weeks Halloween-inspired Arkham Asylum pick.

Arkham Asylum – Respite – Brian Manton

1.

Wide panel.

Over the shoulder shot of an Arkham Asylum orderly, Jason McCallister. He has tight cropped hair, a thick neck and small ears.

In front of him is a small garden area, lit with sunshine. Roses meander through a trellis archway. Small trees are adorned with white blossoms and small birds. A bumble bee studiously surveys the red flowers on a thick green bush. There is a wide array of plants and colours but it is an ordered and well kept garden.

Jason:  This used to be my spot, you know. Every break time, out for a ciggy and pretend that this is all there is.

2.

Large panel.

Reverse shot. We see Jason sitting on a bench. He is wearing his work clothes – pale green overalls with flash on the breast that reads STAFF. Jason’s face is weathered and stress-beaten. He is in his 30’s but could pass for late 40’s. His expression is vacant, as though he is staring through the garden – not seeing it at all. (Note: he is not smoking)

He is dwarfed by the threatening hulk of architecture behind him – Arkham Asylum looms at his back. This is the rear of the institution so we don’t see a main entrance or any signs with the name.

Though the garden was in sunshine, much of the sky above Arkham is overcast, leaving the building mostly in shadow.

Jason:  Try to forget for a minute that Arkam even exists.

Jason:  Inside, you’re part of it.

Jason:  The things they say to you. Sick things.

Jason:  At first you can’t imagine how they even come up with that stuff but after a few years you start to think of sicker things to say back.

Jason:  You don’t say any of it, of course. But it’s there - in your head and you can’t unthink it.

Jason:  This place gets inside you. It follows you home and ruins your dreams.

Jason:  Somehow, out here, I could trick myself into forgetting.

3.

Side view of the bench & garden.

Jason sits there, holding his head in his hands.

In front of him – a vision from his memory (desaturated, to illustrate this) - Two figures stand before him. A female patient in white overalls holds the teeth of an open set of handcuffs to the neck of another orderly, younger than Jason. Mid 20’s, scruffy brown hair. She holds his hair tightly with her other hand and pulls his head back.

Jason:  One of the inmates – not even one of the weird ones – killed young Bill here, right in front of me.

Jason:  It happens. New guy doesn’t follow the procedure to a tee. Happens too much.

Jason:  But that’s all I can see when I sit here now. Can’t see past it.

4.

Close on Jason. Tears well in his eyes.

Jason:  I still come out here.

Jason:  I don’t know why.

Arkham Asylum: The Hunter's House - Niel Jacoby

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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-
(LINK)
WE'RE IN.

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.

SFX: vvvvvvvvRRRRRRRRRRRRRRRR

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!

PA: NO.

Batman: RIDDLER?

PA: NO.

Batman: UH... THE GUY. THE GUY WITH THE TRAPS AND THE... PURPLE?

PA: IT'S DEADSHOT! THE ONE WITH THE SCOPE EYE?

Batman: AH.

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.

PA: ...

Batman: YOU REALLY ARE THAT PREDICTABLE.

Nightwing: AND YOU'RE A BIG OL' HALLOWEEN HUMBUG.

Batman: SHUT UP.

Arkham Asylum - 'Twas - R.A. Wonsowski

Layout:

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Panel 1 - long shot of Arkham Asylum through the iron gates at night.

CAPTION:  'Twas the night before All Saints'

And all through the Asylum

Something amiss with the crazies,

Across genus and phylum.

Panel 2 - JONATHAN CRANE reaching through the bars of his cell door.  He is screaming as if his life depends upon it.

CAPTION:  The Scarecrow was screaming 

As he clawed at the bars.

Panel 3 - POISON IVY is smashing her flower pots and seedlings in mason jars with a broken chair leg in her cell.  In the corner, we see the discarded chair minus a leg.

CAPTION: Dear Pamela Isley

Killed her plants in their jars.

Panel 4 - HARVEY DENT sitting on the concrete floor of his cell, naked and drooling as he rolls a pair of bone-coloured dice, blankly staring at nothing.

CAPTION:  Two-Face, now coin-less,

Fumbled dice on the floor.

Panel 5 - JOKER cowers in a corner, sitting in a fetal ball on the naked mattress of his bunk, tears falling from his eyes.

CAPTION:  And the Joker...well, let's say

He's not laughing anymore.

Panel 6 - a dark dungeon-like basement.  Bloody writing in a spiral written on the floor, mostly runic, except one bit that reads "yarva".

CAPTION:  All because some madman

Etched signs in the cellar...

Panel 7 - same as Panel 6, except from the darkness we see the red glowing eyes and Cheshire grin of a familiar DEMON...

CAPTION:  And let Hallowe'en turn into
A terror tale for the teller.

(...and here's the rest...) 

You see, a recent addition
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,
Inscribed incantations
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:

"Happy Hell-owe'en to you all,

I'm taking the vicar for a bite...."

Arkham Asylum – Trick or treat – Shaun Richens.

PAGE ONE – 5 PANELS.

1.1

We look upon a group of young kids, all around 10 years old. They are all dressed up as their favorite superheroes for Halloween.

We have a SUPERMAN (Henry) the tallest of the group, BATMAN (Tommy the shortest and slightly chubby of the group), GREEN ARROW (Karl) who stands licking the end of one of his sticky ended toy arrows, and a WONDER WOMAN (Mary). The costumes all look home made.

BATMAN kid has his masked pulled up and resting on top of his head.

The kids stand on a street corner; they each carry a little plastic pumpkin bucket with a handle that is full of candy.

The night is bright and clear, a full moon hangs in the sky and dozens of stars twinkle.

SUPERMAN KID:

Ha! I knew you’d be too chicken.

SUPERMAN KID:

You shoulda been Aquaman. No way are you’re cool enough to be Batman.

1.2

Close up on BATMAN kid, Tommy. He has gone red in the face and looks like he is holding back some tears, but he’s holding it together to try and look tough in front of Mary and Karl.

BATMAN KID:

Shut up Henry. I am too cool enough to be Batman.

BATMAN KID:

I’m not scared to go up there.

1.3

Close up on SUPERMAN kid. He has a huge grin on his face; really pleased his little ruse has worked. He looks smug as he pushes his greased hair curl off of his forehead.

SUPERMAN KID:

Prove it. Go up and see if the gates open.

1.4

A shot of Batman kid, he has puffed up his chest and pulled down his mask, he is stood in front of Green arrow kid and Wonder Woman kid who look on wide eyed.

BATMAN KID:

Fine!

WONDER WOMAN KID:

Tommy you don’t have to.

1.5

Looking from behind the group of kids, Batman Kid is walking away from them, his cape blowing in the wind. In the distance we can see the large iron fence that runs all around Arkham Asylum, the Asylum itself looms large on the horizon.

BATMAN KID:

I do. And Don’t call me Tommy.

BATMAN KID:

I’m Batman.

Arkham Asylum – Batman of the Asylum: Minders, Keepers – MK Stangeland Jr.

(If you remember my script from our BATMAN week last year – or take a moment to go back and read it - you’ll get a sense about what’s going on here.)

(5 Panels)

Panel 1: We are in ADMINISTRATOR DR. JAMES GORDON’s (ADMINISTRATOR GORDON) office inside of ARKHAM ASYLUM. GORDON is sitting behind his desk.

Also present are DR. HARLEEN QUINZEL (DR. QUINZEL), who is sitting in one of the two chairs opposite ADMINISTRATOR GORDON’s desk, and DR. BARBARA GORDON (DR. GORDON), who is standing. DR. QUINZEL has a couple of files sitting on her lap.

DR. GORDON: Administrator, I must state my objections to you allowing Mr. Hood to be admitted here.

ADMINISTRATOR GORDON: Barbra…

DR. GORDON (1): Dad, please.

DR. GORDON (2): We’re both on duty right now, so if we could please keep it professional?

Panel 2: Panel is set from behind ADMINISTRATOR GORDON as the conversation continues.

ADMINISTRATOR GORDON: My apologies, Doctor Gordon.

DR. GORDON (1): Thank you. As I was saying, the man is an incredibly dangerous psychopath.

DR. GORDON (2): Arkham is not a proper facility for treating him.

DR. QUINZEL: Excuse me, Dr. Gordon, but Mr. Hood is not the dangerous killer he once was.

Panel 3: DR. QUINZEL looks through a file – if enough of the files exterior can be seen, the name ‘JACK HOOD’ should be listed on it somewhere.

DR. QUINZEL (1): If you bothered to read Mr. Jack Hood’s file – as you suggest you have – you would know full well that while his grip on reality is still lacking, his treatment has come a long way.

DR. QUINZEL (2): May I remind you that a state-certified panel of experts have asserted that he currently feels a great deal of remorse for his past crimes, a far step removed from his original state as a ‘dangerous psychopath’.

Panel 4: DR. QUINZEL point as DR. GORDON with the file as she talks in the direction of ADMINISTRATOR GORDON.

DR. QUINZEL (1): That Arkham Asylum was nominated as the facility at which Mr. Hood should continue his treatment should speak very highly of it.

ADMINISTRATOR GORDON: I recognize as much.

DR. QUINZEL (2): However, if Dr. Gordon wishes to bring up a concern about my patient, might I remind her of one of your own.

Panel 5: DR. QUINZEL opens a second file. If the exterior can be seen, this one should read ‘BRUCE WAYNE’.

DR. QUINZEL (1): Mr. Bruce Wayne.

DR. QUINZEL (2): Though, if I’m not mistaken, he’s more commonly referred to as ‘The Batman of Arkham Asylum’ at this point.

DR. QUINZEL (3): If I’m further not mistaken, he portrays his delusions upon everyone present at this facility.

DR. QUINZEL (4): And the way he does so has led to concerns that should Mr. Wayne and Mr. Hood interact in any fashion, the results could be…

DR. QUINZEL (5): …devastating.

(END PAGE)

Arkham Asylum - The Joke's On You - Simon McDonald

There is on-going construction work at Arkham Asylum. Its inmates have been moved to various other facilities - The Riddler is secured behind bars in Stryker's Island, Clayface is being housed at Iron Heights Penitentiary. Scenes occurring at Arkham Asylum should feature background work detailing these renovations; piled rubble, machinery, and dozens of workers in dust-stained overalls and yellow hard hats looking busy. 

PANEL ONE
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.

CAPTION (1)

I have always had the capacity for evil.

 

CAPTION (2)

I suppose we all do, to some degree.

 

PANEL TWO

Inside THE JOKER'S cell stands a lone construction worker. Non-descript, nobody we've ever seen before. His hands are clasped behind his back. He's examining the walls - covered with diagrams and scribbled text - with obvious reverence.

 

 

CAPTION (1)

Most folks don't have the balls to commit to their demons.

 

CAPTION (2)

Even more simply don't have the intellect for it.

 

CAPTION (3)

I sure didn't.

 

PANEL THREE

Tight on our protagonist. He is squinting now, deciphering the coded scrawl.

 

CAPTION (1)

So the day I decoded The Joker's scrawl - -  

 

CAPTION (2)

- - me, a nobody! - -

 

CAPTION (3)

- - that was no longer a concern.

 

PANEL FOUR

A smile has spread across his face. He's done it - he's seen through the crazy and made sense of it.

 

CAPTION

He'd done my thinking for me, the Clown Prince of Crime.

 

PANEL FIVE

In another place, location unknown (for the time being). It's suitably dark and decrepit. THE JOKER is cackling to himself, evil grin plastered on his face.

 

THE JOKER

HAHAHAHAHAHAHA!

 

CAPTION

How was I to know I'd played right into his hands?

Arkham Asylum - Arkham Horror Story - Ben Rosenthal

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.

BENNY
What's going on?  How did this happen?

AMANDA
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.

AMANDA
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.

AMANDA
It was only a matter of time before all that power and madness manifested in other ways.

Arkham Asylum - No Escape - J.D. Coughlan

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: "Lock-Up."

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