The Big Fat Beat 'em Up Challenge Thread

[Vendetta]

In honor of the thread regarding Writer Battles, here will be the first battle.

Due Sunday, April 11th (one week)

Write a 2 to 3 page battle scene using any genre or any characters that you like. Batman vs Wolverine, Conan vs. Ronan, etc. Post your scenes in this thread and we will do a poll Monday the 12th to vote on the winner.

This "battle" is simple and pretty open (and anyone can join, just post your scene) for a starter. Later, if we get a great responce, we can do other kinds of "battles" such as challenge matches and what not.

Good luck to all :D

*edit*
scenes for this "battle" is to be in comic book script format

[NickRocks]

nizzice. im starting right now.

[shipp]

looking forward to it.

[PlasticPsyche]

I assume these battles will be in script form?

[DestroyAll]

You know what would rule? If the winning entry was drawn by a PJ artist!

[NickRocks]

yeah that would be sweet.

[foxmerquise8]

Can we extend this to 4 or 5 pages? 2 or 3 pages is a bit small for an action scene.

[shipp]

you would have to post that right after i get done editing the shit out of mine.
:D
why don't we make it a minimum of 3 pages and a maximum of 5?

*edit*
if it serves Vendetta, of course.

[Vendetta]

it is two to three pages (You have to learn how to write within certain constraints some times)

Also, considering how many people will be involved and how many scripts we could probably have, asking people to read 5 pages per writer for a single vote is a bit much

Right now, if everyone turns in their script of 5 pages, we could see 30 pages of script to read to vote on... a bit much I think for our first go. So for now, 2 to 3 pages is going to be good and wont be hard to read even if we get a few more people added to the mix.

When we do smaller group battles, we can have more pages.

[NickRocks]

here's what i have so far...

my people i chose to use for the fight are superman and yoda.

Page 1

Panel 1: over headshot of a futuristic city. Cars are flying, exhaust towers are belching smoke. It’s the middle of the day.

Panel 2: we see Yoda running along the side of a wall, using the force to keep him up. His light saber is out and on as he runs. A laser shot is exploding on the wall behind him.

SFX: kraboom!

Panel 3: Yoda stops and turns around, deflecting the lasers with his light saber impressively, still on the side of the wall. This view is from behind Yoda, and we can see a cloaked figure firing the lasers out of his eyes at Yoda.

Panel 4: close up on the person firing, and we see it is Superman! He keeps firing at Yoda while dodging the lasers deflected by the midget.

Panel 5: Yoda leaps off the wall towards Superman, lightsaber in front of him. He’s yelling, angry.

YODA:RRARGH!

[shipp]

Pisces

Page One

Six panels. The page is essentially divided into fourths with panels 1 and 2 occupying the top fourth (leave room for caption between panels), panels 3 and 4 are occupying the space beneath panels 1 and 2 and are equal in size . Panel 5 is obviously under panels 3 and 4, but occupies the entire third “fourth” of the page. Panel 6 is directly underneath panel 5 and is equal in size.

Panel 1: A crowded airport terminal. A man in a black suit is seen in the forefront looking at a man in the background who is looking back at him. The man in the background is wearing a white suit and looks very similar to the man in the black suit. They both have slicked black hair, light complexion, and a “stiff upper lip”.


CAP IN BETWEEN PANELS 1 AND 2: It’s as if the minute their eyes met they knew they had to kill each other.

Panel 2: Similar to panel 1, except now the man in white is in the forefront and the man in black is in the background.

Panel 3: The man in white sprinting towards the center of the page ( at the man in black ). People surrounding him are being shoved out of the way and bumping into each other.

CAP IN BETWEEN PANELS 3 AND 4: They ran, full sprint at each other.

Panel 4: Just like panel 3, except the man in black is seen running towards the center of the page (at the man in white).

Panel 5: Tight shot of the man in white’s fist colliding with the man in black’s.

CAP: When their fists connected it sounded as if heaven and hell exploded, but muffled under the skin and bone of each other’s clenched hand.

Panel 6: A wide shot of the two men fighting. The man in white’s right leg is stopped in mid kick by the man in black’s right shin. The man in black’s right arm is stopped in mid attack ( like he was trying to hit the man in white’s face with the back of his fist ), by the man in white’s right arm which is in the exact same position.





Page Two

Ten panels. Again the page is basically divided into fourths. Panels 1, 2, and 3 share equal space in the top fourth of the page ( leave space enough for captions in between the frames). Panels 4, 5, and 6 are exactly as panels 1,2, and 3 underneath. Panel 7 and 8 share equal space underneath 4,5, and 6 (again, leave space for caption in between panels 7 and 8). Panels 9 and 10 are just as 7 and 8, directly below them.

Panel 1: The man in white’s fist clenched and bloody.

CAP IN BETWEEN PANELS 1 AND 2: Their movements were fluid, but rigid.

Panel 2: A dark colored Beta fish, swimming in water.

CAP IN BETWEEN PANELS 2 AND 3: Graceful but rock solid.

Panel 3: The man in black’s fists as he cracks his knuckles. His fists are also bloody.

Panel 4: Two Beta fish (one dark colored/one light colored) attacking each other.

CAP IN BETWEEN PANELS 4 AND 5: Every kick connected with the others exact kick.

Panel 5: An overhand punch from the man in black connecting with an underhand punch from the man in white. Both fists are bloody beyond belief.

CAP IN BETWEEN PANELS 5 AND 6: Every punch hit the punch that was on it’s way.

Panel 6: The two Beta fish in the pisces formation ( the dark fish is on top ).

Panel 7: A little girl ( our narrator ) is huddled in a phone booth watching the fight. She’s about twelve years old with brunette hair, which is tucked in a pony tail, and her hands are over her ears. She looks very scared and is peeking through the plastic that encases the phone booth from about four feet to the ceiling. The base of the phone booth is made of metal and this is what’s covering most of the little girl.

CAP: I was huddled in a phone booth, holding my ears, trying to block the sound of breaking bones.

Panel 8: Three cops, with their guns drawn, pointing at the reader.

CAP: It didn’t take long for the cops to show up. I couldn’t see them from where I was at, but I could here them shouting for the two men to drop to the ground.

Panel 9: A side shot of the man in black diving behind an airline desk. The man in white is doing the same in the background.

Panel 10: The man in white, crouched behind the terminal, loading a gun.





Page Three

This page has six panels, and again, is divided into fourths. Panel 1 occupies the entire top fourth of the page. Panels 2 and 3 share equal space below panel 1 and panels 4 and 5 are directly below 2 and 3 and are like in size. Panel six is the same size as panel 1 and below panels 4 and 5 ( leave space for caption below panels 4 and 5).

Panel 1: Wide shot of both men standing up behind their terminal pointing guns at the reader.

CAP: Instead, both men stood straight up and started rattling off shots at the cops.

Panel 2: Side shot of all three cops falling to the ground as bullets enter, and pass through, their bodies.

Panel 3: Dozens of spent shells, still smoking, on the ground.

CAP: Through the thunder, the tiny sound of shells hitting the ground could be heard. Tiny coffins, hollow with the absence of their concentrated hate, hitting the ground not too far from me.

Panel 4: The little girl curled up in the corner of the phone booth, crying and screaming.

CAP: I started screaming, only because I knew I wouldn’t be heard over the gunfire.

Panel 5: The two men are back to pointing the guns at each other. We’re seeing them as if we’re behind the man in black and to his left.

CAP: After the police had been laid to waste, the men turned their attention back to each other.

CAPTION IN THE SPACE ABOVE PANEL 6: Then, at an almost inaudible level, each man said..

Panel 6: One of the men’s mouth, barely open.

MAN: One left.

END

[banshee]

Wow this idea sounds funkyyyy :)

ok.. I'd best get my head stuck into this tooooooo :D

[NickRocks]

heres the rest.

Page 2

Panel 1: Superman grabs Yoda by the arm, being sure to keep his face out of reach of the lightsaber. Yoda is wriggling comically, way too short to do anything.

SUPERMAN: YOU….

Panel 2: Superman throws Yoda high into the sky effortlessly. The Jedi’s lightsaber goes flying from his hand. Some flying cars, trying to get out of the way of the toss, crash into each other.

SUPERMAN:…ARE REALLY GETTING ON MY NERVES!!

Panel 3: Yoda, high in the air, disappears into some smoke coming out of an exhaust tower.

Panel 4: Same shot, but now all we see is the tower and the smoke coming out of it.

Panel 5: Same shot, except now we see Yoda’s lightsaber flying into the smoke.

Panel 6: (small inset panel) Superman raises an eyebrow.

SUPERMAN: EH?

Page 3

Panel 1: Superman floats slowly up towards the exhaust smoke, squinting to see if he can see anything.

Panel 2: big panel, Yoda high above the man of steel descending down towards him at a fast rate, about to slice him with the lightsaber.

YODA: HYAAA!

Panel 3: Superman looking shocked.

SUPERMAN: OH SH-

END

[DestroyAll]

er, here's my fight scene deal: Hellboy vs. Blade

Page One

Panel One
Inside the abandoned warehouse that is Blade’s base of operations, Hellboy fires off three rounds at the Day Walker, who dodges by leaping into the air.
1 SFX: BLAM! BLAM! BLAM!
2 Hellboy: DAMMIT...I HATE VAMPIRES.

Panel Two
Blade is descending on Hellboy with his sword drawn, ready to slice HB in half, but HB blocks with the right hand of doom.
1 SFX: TING!

Panel Three
Blade uses a martial arts kick to send Hellboy’s gun flying out of his hand.

Panel Four
Hellboy slugs Blade in the jaw with his left hand.
1 SFX: THAP!
2 Hellboy: DAMMIT I COULD HAVE USED THAT. NOW WE’VE GOTTA DO THIS THE HARD WAY.

Page Two

Panel One
HB grabs Blade’s left forearm, the sword-wielding arm, with the right hand of doom.
1 Hellboy: NOT MUCH OF A TALKER, EH?

Panel Two
Small panel. Close up of Blade’s arm dropping the sword due to Hellboy exerting enough pressure to break Blade’s arm.
1 SFX: CRACK!
2: MAYBE THIS WILL GET YOU TO OPEN UP.

Panel Three
Blade kicks HB in the family jewels, causing him to let go of his grip on Blade.
1 SFX: CRUNCH
2 Hellboy: SONOVA!

Panel Four
Still in pain, Hellboy grabs Blade by the throat with the right hand of doom. Blade's hand can be seen reaching towards the metal stakes strapped to his thigh.
1 Hellboy: LIGHTS OUT FOR YOU, PAL!

Panel Five
Blade stabs Hellboy in the shoulder with a stake. Blade’s other hand is raised in the air brandishing a stake.
1 Blade: I’LL SEND YOU BACK TO HELL DEMON FILTH!

Panel Six
Blade thrusts the second stake into HB’s neck. HB starts to bleed profusely.
1 Hellboy: AACK-gurgle-
2 Blade: DIE!

Page Three

Panel One
Hellboy tosses Blade a dozen feet away into a stack of crates.
1 SFX: CRASH

Panel Two
Hellboy is losing a lot of blood. He picks up Blade’s sword from the ground.
1 Hellboy: GODAMN VAMPIRES.

Panel Three
Blade has just gotten back to his feet and has been cut a few times by scraps of wood from the crates breaking. Before Blade can collect himself, Hellboy impales him straight through the heart with his own sword. One of Blade’s hands must not be visible in this panel, perhaps behind his back or just off panel.
1 Hellboy: RAAA!

Panel Four
Same shot as previous panel. Blade uses Hellboy’s own gun and empties three shots into HB’s gut at point blank range(the gun of course being what was in Blade’s non visible hand in the previous panel.)
1 Blade: GODAMN DEMONS.

Panel Five
Hellboy lays on the floor in an expanding pool of blood as Blade begins to disintegrate.

[banshee]

(withdraws)....

**** clients want rush job grrrrrrrrrrrrrrr... like they rush to pay me either LOL

next time... I gotta do the next one!

[Ben Christensen]

Here's mine. :D

“MELTS IN YOUR MOUTH, NOT ON YOU LIGHTSABER”
By: Ben Christensen


PAGE 1 (5 Panels)
-PANEL 1: We’re in a darkened room, the walls are metallic and old. Dust and odd webs cover the once shiny surfaces. In the center of the frame stands CRISPY M&M (the orange one). In CRISPY’s hand is a tube of Mini M&M’s. In the background a silhouetted figure (DARTH MAUL) can be seen. CRISPY has no idea he’s there.

CRISPY: RED?

CRISPY: YELLOW? ARE Y-YOU GUYS AROUND?

CRISPY: I GOT ALL THE MINI M&MS BACK INTO THEIR TUBE AND IT’S KIND OF... WELL DARK IN HERE. SO, CAN I... UH... LEAVE NOW?

CRISPY: HELLLOOOO?

CRISPY: RED?


-PANEL 2: Medium shot over MAUL’s shoulder, looking down at the much smaller CRISPY as the orange candy turns and looks at the menacing person standing behind him.

CRISPY: OH.

CRISPY: UM... YOU’RE NOT “RED”.


-PANEL 3: Wide shot revealing DARTH MAUL. He’s finally illuminated having stepped out from the shadows. MAUL looks down at the off panel candy-man.

DARTH MAUL: NO, I AM NOT.


-PANEL 4: Tall shot as MAUL raises his double sided lightsaber, igniting the upward pointed blade. The blade’s red glow covers his body. We can see a small bit of CRISPY in the corner of the panel, as he watches in terror.

CRISPY: WHAT’RE YOU DOING?

CRISPY: I... I THINK THERE’S BEEN SOME KIND OF MISTAKE!


-PANEL 5: Extreme close up as CRISPY opens the top of the Mini M&M tube. We see the minis start to form a long shape, similar to a lightsaber.

CRISPY: pleaseworkpleaseworkpleasework.



PAGE 2 (6 Panels)
-PANEL 1: The two beings clash at a downward angle. Sparks fly from MAUL’s blade as it collides with the mini-candy-saber that CRISPY is using.

CRISPY: CAN’T WE TALK ABOUT THIS?


-PANEL 2: Again they clash, this time in an upward angle. Single minis are chipped away, but the majority of the weapon stays intake. CRISPY is beside himself with fear.

CRISPY: PLEASE!!!


-PANEL 3: Wide shot as MAUL cuts horizontally through CRISPY’s weapon, mini M&M’s are thrown all around from the attack.

DARTH MAUL: NO.


-PANEL 4: Tall shot in close up. We see the mini-candy-saber in better detail, it’s mini parts have a huge gap now. Already, the separated pieces are starting to return, but there aren’t enough of them to fix the problem.


-PANEL 5: As more and more mini M&M’s return, the weapon takes shape again and looks almost completely fixed.


-PANEL 6: Close up on MAUL. This little turn of events doesn’t sit well with him.

DARTH MAUL: SO BE IT.



PAGE 3 (8 Panels)
-PANEL 1: Wide shot as MAUL holds his lightsaber horizontally and activates the weapon’s second blade. He’s pissed now, and he aims to finish this fight fast. CRISPY’s back is towards us, his weapon held low.

DARTH MAUL: NOW, THE FULL WRATH OF THE DARK SIDE SHALL BE BROUGHT DOWN UPON YOU!

CRISPY: OH @$#%!!


-PANEL 2: As MAUL twirls his saber, readying to attack, CRISPY turns and runs for his life. As he does so, he throws the open tube and its mini-candy-saber into the air. It heads towards MAUL.

CRISPY: I’M NOT PAID ENOUGH FOR THIS!

DARTH MAUL: GET BACK HERE!


-PANEL 3: Close up on MAUL. Even with his face tattooed to look permanently evil, we see the surprise and fear that runs through it. He knows what’s coming.

DARTH MAUL: I SAID GET BA-

DARTH MAUL: oh no.


-PANEL 4: Dozens of mini M&Ms fly forward. We can see all their little faces as they smile like tiny chocolate imps.


-PANEL 5: Head and shoulder shot of MAUL as his face is covered in mini M&Ms. He’s off balance for the first time in his long Sith career.

DARTH MAUL: mmm mmm! mmm!!...


-PANEL 6: In a not-so-brilliant move, MAUL swings his weapon towards his own head in an attempt to get the little candy creatures off him. We see the motion, but the blade hasn’t made contact yet.

DARTH MAUL: m mmm mm mmmm!!!


-PANEL 7: There is a bright flash of light that fills the small panel as MAUL hits his own head with his weapon.

SILENT PANEL


-PANEL 8: As MAUL’s now headless body falls to its knees, CRISPY looks on from around a distant corner.

CRISPY: ouch.

CRISPY: I HOPE RED DOESN’T CARE THAT THE MINIS ARE A LITTLE ...uh... BURNT.

CAPTION: -END-



-;onei;

[theory9]

S(c)ent


Page One


Panel 1--Large panel: establishing shot of a light leather Ottoman-style chair covered with blankets, centering a large, sparsely decorated but brightly lit room (note that a window will be in the room, and used for panel 3). The chair is covered with blankets, and a metal table to the chair's right (our foreground) shows a variety of pill bottles and medicine. Lastly, an IV drip stands behind the chair, an empty bag and tube drooping down.

CAP.
"THIS IS MY FATHER'S CHAIR. THIS IS WHERE HE IS DYING.

Panel 2--Closeup of the metal table where the pills and other medicines stand.

CAP.
"DEATH THAT IS NOT SUDDEN HAS THE ADDITIONAL WEIGHT OF ROBBING A PERSON OF THEIR SPIRIT, THEIR WILL TO LIVE.

CAP.
"EYES REFLECT A DESIRE TO END PAIN WHILE FEARING TO IGNITE SIMILAR EMOTIONS IN THE HEARTS OF THE LIVING.

Panel 3--closeup of the window, looking out on a patch of green grass and a tallish, somewhat obscured pine tree.

CAP.
"ALL PEOPLE WANT TO END SUFFERING UNTIL THEY ARE CONFRONTED WITH IT. CLOSE, SMELLING OF DEATH AND HOPELESSNESS.

CAP.
"LIFE IS STRING WE WALK ALONG, NOTICING THE END ONLY WHEN IT IS TOO LATE TO TURN AROUND.



Page Two

Panel 1--closeup picture of a high-tech floor scale, what you would use to weigh yourself with.

CAP.
"WE AREN'T LIVING LIFE--WE ARE EXISTING. LIFE IS WHAT WE DO WHEN CONFRONTED WITH DEATH.

"WE APOLOGIZE, JOIN HEALTH CLUBS, QUIT SMOKING...ALL THE WHILE NEVER LOOKING DEATH IN THE FACE.

Panel 2--a barbed wire fence stretches through the panel, with a mountainous background.

CAP.
"WHEN WE LIVE, EVERY BREATH IS AN EMBRACING OF FREEDOM, AN UNDERSTANDING OF HOW JUST HOW LITTLE WE HAVE, A VINDICATION OF EMPTY WISHES...

Panel 3--a fax machine spits out a long ream of paper onto a spanish tile floor.

CAP.
"DO NOT EXIST.

CAP.
"LIVE.

Panel 4--Closeup of the fax paper piling onto the floor.

CAP.
"MAKE SURE YOU HAVE NO PLACE TO DIE."

[Vendetta]

Bah... I cheated and ended up with 4 pages... I couldn't figure out how to condense it down any more as it is already getting to cramped in here (and naturally, I was the one who shot down allowing more pages LOLOL) So, I am officially disqualified from the vote but wanted to post my story anyway... which isn't quite what I had expected and probably doesn't fall under the actual requirements of the challenge (I wanted to try something different and I like it, but don't think it falls into the requirements)

anyway, here is mine. I haven't posted anything I've written in a long time and figured that I darn well needed to, even if I disqualified myself :D
--------------------------------------------------------------------------------------------------

Page 1
It is the mid 12th century, China and the Mongols are invading. With each panel, we see more and more horses, slowly revealing a larger and larger army. Progress how you feel appropriate, but some ideas for panels to get this going could be;
Horses head, focused on the eye… looking driven and focused.
Cold morning frost coming from the nose of some horses.
Determined face of a Mongol as he rides.
Hooves storming across a river. It should be about here that the text below begins.
Silhouetted horses and riders running in front of a rising sun.
Each of the above are small panels that shouldn’t take up more than half of the page combined. It needs to feel rapid and fast paced.
The next panel is a man on top of an old “look-out” tower crying out and pointing at the rising dust from the approaching army. The rest of the page (one panel or more as you feel works best to show this) are men getting ready for battle as they run to form up lines and ranks, officers shouting out orders and the like. Behind them, mothers carrying babies, women and children are fleeing in all directions or trying to hide. Everyone is shouting and it is a state of panic as they attempt to prepare themselves for the inevitable battle.

CAPTION: THEY ARE COMING.

CAPTION: THEY HAVE COME FROM AFAR.

CAPTION: FROM BEYOND THE GREAT MOUNTAINS OF THE NORTH.

CAPTION: THEY RAGE ACROSS THE LAND LIKE WILD FIRE, STRIKING DOWN ALL WHO OPPOSE THEM.

CAPTION: FOR NONE CAN STAND IN THEIR WAY.

CAPTION: FUTILELY WE PREPARE, TRAIN AND MAKE WEAPONS TO FIGHT THEM.

CAPTION: WE STAND AND FIGHT MORE FOR HONOR THAN A HOPE OF VICTORY.



Page 2
This page is a splash page of the Mongol army riding fiercely into the much smaller line of militia standing ready, weapon drawn but fear and defeat is evident in the defenders. The Mongols crash through the line of the militia. This could be a large panel showing all kinds of combat; men getting struck down, weapons clashing together, people getting stabbed from behind with spears, people trampled under horses, homes getting put to the torch, etc. They are no match for the invaders.

CAPTION: AFTER THE SUNG* ABANDONED US, THERE HAS BEEN NO UNITY. THE PEOPLE ARE TOO DIVIDED TO RALLY, TOO SELF CONSUMED TO COOPERATE…

CAPTION: LEAVING EACH COMMUNITY TO DEFEND ITSELF, BY ITSELF.

CAPTION: WE ARE ALREADY DEFEATED.

CAPTION: THEIR STRIKES ARE SWIFT, BARBARIC AND UNFORGIVING. THEY CRUELLY SLAUGHTER US, DESTROYING HOME AND FAMILY.

CAPTION: THEY FALL UPON US LIKE A JUDGMENT AGAINST THE CONDEMNED…

CAPTION: AND MAKE US BELIEVE THE GODS, LIKE THE SUNG, HAVE ALSO ABANDONED US.

CAPTION: THEIR GREATEST WEAPON IS OUR FEAR OF THEM.

CAPTION: A FEAR THAT DRIVES AWAY HOPE.

CAPTION (COLOR CHANGE): *THE SUNG DYNASTY TOOK POWER IN CHINA IN 960 AD AND WAS FORCED TO ABANDON NORTHERN CHINA IN 1127AD DUE TO THE INVADING MONGOL ARMIES.






Page 3
More of the carnage of page 2. The Mongols have won. It is dark and they are celebrating their victory by the fires of the burning homes. One Mongol stands out to us, the viewer. The next couple panels show this Mongol, closer and closer, until his face fills the last panel as he laughs deeply, mockingly.


CAPTION: ALL THAT IS LEFT IS DEATH AND ASH.

CAPTION: ONE MORE TOWN FALLS.

CAPTION: ANOTHER WILL SOON FOLLOW.

CAPTION: THEY ARE COMING.



Page 4
A man is startled from his sleep, sitting up, his face full of panic. He is a man in his mid 30s, in a humble room, laying on a mat with an animal skin for a blanket. He is covered in sweat. He drops his head into his hands and fights back tears. He lay back down on his mat, looking up into the air above him pleadingly, wishing his dreams and the reality behind them would all go away.

CAPTION: THEY ARE COMING.

CAPTION: AND THERE IS NOTHING I CAN DO ABOUT IT.

CAPTION: I AM LEE SHAN WOO, CAPTAIN OF THE GUARD.

CAPTION: I AM ONLY A MAN, FACING AN IMPOSSIBLE TASK; TO DEFEND AGAINST WHAT CANNOT BE STOPPED…

CAPTION: TO PROTECT THOSE WHO HAVE ENTRUSTED ME WITH THEIR LIVES.

CAPTION: AND LIKE EVERYONE ELSE, I TOO HAVE LOST HOPE.



***PS I'll post a Poll thread either late tonight (as today, even though it is Easter, still qualifies you if you post) or tomorrow when I get home from work.

[popeye]

Archie vs. Jughead
By Mike Dillon

I can't explain why I choose these two. I mean...it's been decades (notice the plural) since I even looked at one of those books, but my mind started formulating the battle so I had to get it out. Anyway, I decided to go with it and turn the characters 180 degrees to show how they truly are. Enjoy

PAGE 1 (5 PANELS)

Panel 1: Establishing long shot of Riverdale High from eye level. In the background, we see the back of Jughead turning his head and looking back at us. In the foreground, we just see an arm extended forward, finger pointing at Jughead. In the background, we also see other students walking around, minding their own business.

OP: HEY JUGHEAD!! I WANT TO TALK TO YOU!!

Panel 2: Shot of Jughead standing with his hands on his hips and smile on his face. Walking towards Jughead is one pissed off looking Archie. Archie still has his arm extended and finger pointing at Jughead.

JUGHEAD: WHAT’S UP BUDDY? I HAVEN’T SEEN YOU ALL DAY.

ARCHIE: DON’T BUDDY ME, YOU SNEAKY RAT!! A TRUE BUDDY WOULDN’T DO WHAT YOU DID!!

Panel 3: Shot of Jughead and Archie standing face to face. Jughead looks surprised and is shrugging his shoulders. Archie still looks pissed.

JUGHEAD: DO WHAT, ARCHIE? WHAT ARE YOU TALKING ABOUT?

ARCHIE: YOU KNOW WHAT I’M TALKING ABOUT. I SAY YOU MAKING IT WITH MY GIRL LAST NIGHT.

Panel 4: Close up on Jughead with a sinister smile.

JUGHEAD: WHICH ONE, BETTY…OR VERONICA?!?

Panel 5: Medium shot of Archie punching Jughead in the jaw.

ARCHIE: YOU SON OF A…


PAGE 2 (6 PANELS)

Panel 1: Angle shot of Jughead on the ground on all fours (hands and knees), blood is dripping from his mouth. He still has a sinister smile. Archie is standing off to the side still pissed, but looking tough also. A crowd is starting to form to watch the fight.

CROWD: OH MY GOSH, A FIGHT!!

CROWD: FIVE BUCKS ON JUGHEAD!!

CROWD: HELL, TEN BUCKS ON ARCHIE!!

ARCHIE: GET UP, YOU CROWNED SISSY!! I’M NOT THROUGH WITH YOU YET.

Panel 2: Shot of Jughead getting up. He’s wiping the blood from his mouth with the back of his hand. Still has that sinister smile on his face. Archie is pissed and is clenching his fist.

JUGHEAD: SO YOU FINALLY FOUND OUT. I GUESS IT WAS ONLY A MATTER OF TIME ANYWAY.

JUGHEAD: WHAT CAN I SAY, PAL. THEY NEEDED A MAN, ARCHIE, A REAL MAN. YOU WEREN’T STEPPING UP TO FILL THEIR NEEDS, SO I DID IT FOR YOU. YOU SHOULD THANK ME, YOU KNOW.

Panel 3: Shot of Archie, extremely pissed and screaming while running at Jughead.

ARCHIE: AAAAAAHHHHHH!!!!!

Panel 4: Medium shot of Archie tackling Jughead and taking him to the ground.

Panel 5: Angle down as Archie has Jughead pinned down on his back and is pounding blows on Jughead’s face. In the background, we can hear the police sirens.

ARCHIE: I’LL KILL YOU!!!

SFX: RRRRRRRRRR!!!!

Panel 6: Medium shot of Jughead flipping Archie off him.

PAGE 3 (7 PANELS)

Panel 1: Shot of Jughead’s foot connecting with Archie’s face as Archie was starting to get up.

Panel 2: Medium shot of Jughead, looking bloody and bruised, grabs Archie by his hair. Jughead’s fist is landing on Archie’s face.

JUGHEAD: CROWNED SISSY, HUH!!! WELL, TAKE THIS…

Panel 3: Shot of Archie curled up on the ground while Jughead is kicking him. In the background, we can see a policeman, with nightstick drawn, running up to break up the fight.

JUGHEAD: …AND THIS!!

Panel 4: Angle shot. Archie is starting to stand. The policeman is standing between Archie and Jughead. His back is to Archie and is facing Jughead. Jughead is facing the Policeman. The crowd is still off to the side, just watching.

POLICEMAN: WHAT THE HELL IS GOING ON HERE??

Panel 5: Shot of Archie in the foreground, his back to the reader. He’s walking towards the Policeman who still has his back to us and Archie. Jughead is in the background facing us, pointing in the direction of the Policeman and Archie.

JUGHEAD: I DON’T KNOW, MAN. THAT PUNK ARCHIE JUST CAME UP AND PUNCHED ME. HE WANTED TO START IT, SO I FINISHED IT.

Panel 6: Close up of a hand pulling the policeman’s gun from the holster.

Panel 7: Angle shot of just Archie from waist up, holding the policeman’s gun. Smoke is coming from the barrel of the gun. Archie, looking bloody and bruised, has a sinister smile on his face.

ARCHIE: NO, SISSY. I FINISHED IT!!

The End

[cabralsoth]

HA!!! these were great! ... on the last one i would like to note that the barrel of the gun shouldnt be smoking unless it was fired, so add a soundeffect inbetween panels oin that .... well post the polls and lemme vote...arrrr