Sample Scripts for Artists

**amadarwin** · 07-24-2006, 11:11 PM

of course, Knuckles. I've been updating periodically, so don't be surprised if you don't see yours linked on the first post right away.

and I love you too, benrosa.

Deeply.

**Knuckles** · 07-25-2006, 04:53 AM

Ok, cool. Well here it is:

A Zombie’s Dream

Page 1: (5 panels)

Panel 1: A large panoramic shot of a destroyed city landscape.

Caption: *Sigh*

Caption: For once I would like to live in a city that wasn’t destroyed.

Panel 2: A large shot from the POV of the street of a typical house with the white picket fence and two car garage. At the front door is Zombie Bob waving at the audience with his other arm around his zombie wife. They have two zombie children that are running around in the front yard. Everybody looks happy.

Caption: Sometimes I dream about the perfect life…with the perfect family…in a city that’s not destroyed.

Panel 3: Small Close-up shot of Zombie Bob’s face. He has a huge smile on his face that makes him look extremely happy.

Caption: I would be so happy.

Panel 4: A medium shot of Zombie Bob sitting in the thinking man position inside a collapsed skyscraper. It is pretty much just the shell of the skyscraper. There are other zombies walking by in the foreground.
Zombies: Bbbbbbrrrrraaaaaiiiiinnnnnssss!

Caption: But my reality is far from that.

Panel 5: A medium shot from the POV of the sky. Rain has started to fall on zombie Bob through the openings in the collapsed skyscraper. Zombie Bob is looking toward the sky/audience. He looks sad and his shoulders are slumped.

Caption: *Sigh*

**IronSyndicate** · 08-01-2006, 07:55 AM

Alrighty, I've submitted this to the Western Horror fusion, but it wasn't chosen.... oh well!

However, I would still like to see this get drawn so....

http://www.penciljack.com/forum/showthread.php?t=69966

**ITDGage** · 11-13-2006, 02:32 PM

Here'a a short script I wrote for the Disposable Studios contest that never panned out. It's been long enough that I thought I'd put it out here in case anyone would like to take a hack at it. I would also greatly appreciate any feedback on it. Thanks!

Deadpool 3-page Comic Script
Title: ‘Deadpool in: How I Learned to Stop Hurrying and Lob the Bomb’

Writer: J. Tyler Farris (ITDGage)

Notes on Characters:
Deadpool: 6 feet 2, 210 lbs. of pure psychotic frenetic energy. Deadpool is an amoral man-child driven equally by greed and the need to placate his conscience. His reaction to any given situation is as unpredictable as roulette; he is, after all, a psychopath. He wears an army-style cap, this Throwdown shirt, a canvas Dickies-style jacket, a dirty old pair of jeans and a pair of Pumas. I’m thinking it would be cool if his jacket had a design that resembled the one on his costume, and a small DP logo somewhere on his hat.
Have fun with his overall appearance, but please try to stay away from the cartoony style of his self-titled series. Even though this is a comedic script, I think the punch line on the 3rd page can be well-served if the first two pages set up a sense of danger and urgency.

Wolverine: 5 foot 3, 300 lbs. of brooding berserker. Wolvie is mostly here as an unavoidable obstacle between ‘Pool and his goal, but he’s still a badass. He’s wearing typical Wolvie street clothes; jeans, a fur-lined denim jacket with the collar flipped up, a ratty cowboy hat, some well-worn boots. Logan is ridiculously recognizable, so you don’t need to worry about stylizing his wardrobe too much. Enjoy, fellas, he’s all yours!

Bryan (Blockbuster Employee): Mid-twenties, tall and thin, thick wavy hair slicked back and heavily gelled (like Spike’s hair, in Buffy, but black). Of the 3 employees working Bryan is the only one who looks capable of getting a girl’s number. He’s an interminable college student working his perfect job; assistant manager at Blockbuster. He’s the slacker type, so he likes being able to stand around and delegate without having all of the responsibility of a store manager.

S(a)tan (Blockbuster Employee): A little chubby but not fat, average height, a high school senior, he’s a nerd and it shows. Not Screech nerdy, though; for him I’m thinking more along the lines of that brown-haired guy on ‘The O.C.’ (whatever the hell his name is). His name is actually Stan, but you leave a bunch of guys with nametags alone with a label-maker and you end up with employees named things like S(a)tan.

Other Characters: The rest of the cast is basically up to you; however you want to draw them is cool. I’m including a list and brief descriptions, but feel free to deviate (I’m sure you’ve gotten that part of it by now…)

Blockbuster Employee #3: Another awkward teenager, goofier than S(a)tan.

Blockbuster Employee #3’s Friends: As goofy as BB Employee #3, dressed in jeans and t-shirts. There are two of them.

Slumber Partiers: A group of five teenaged girls, all wearing various forms of pajama bottoms and tank tops.

Slumber Mom: The MILF chaperoning the slumber partiers.

Notes on Location: The entire script takes place inside of Blockbuster except for the last panel, so there won’t be a lot of change in scenery. This is a normal Blockbuster, nothing special about it. Remember to have those large four-piece posters on the windows and regular sized ones in frames hung from the ceiling. Also, remember to have some TVs hanging from the ceiling. The last set element to remember to include is the New Release board, that big marquee-like sign with all the prices and late fees and upcoming release info on it. Within the panel descriptions, I’m not always gonna specify where any of the “Other Characters” are at any given moment, but I will specify where they shouldn’t be, if applicable. Let’s have some background humor if there’s room, like having BB Employee #3’s friends peeking over or around rows, gawking at the Slumber Partiers, or having Blockbuster Employee #3 carrying a stack of movies way too big to balance, which of course he will drop, some sight gags along those lines.

Page One
Panel 1
High angle medium shot, interior of Blockbuster, we’re in the front looking back. BRYAN and S(A)TAN are in the foreground on the left side of the panel; Bryan is counting down a till, Satan is sorting returns. WOLVERINE is at the magazine rack near the checkout area, browsing a copy of Superheroes Illustrated: Swimsuit Edition (we don’t need to be able to identify the magazine in this panel, long as it’s there in his hands). In the background, out of view from the others in the store, DEADPOOL is teleporting into the rear of the store on the right side of the panel. Also in the store: BLOCKBUSTER EMPLOYEE #3, BLOCKBUSTER EMPLOYEE #3’S FRIENDS, SLUMBER PARTIERS, and SLUMBER MOM. Doesn’t matter where they are as long as they aren’t in position to see Deadpool teleporting into the store.

Caption
11:54 PM.

Caption
Almost closing time, the end of a long shift for these men in blue and gold uniforms.

Bryan
Hey, go help those people so we can get out of here on time for once.

Satan
Not a chance, dude. I’m not the one who got stoned and forgot to order the new X-Men documentary.

Bryan (linked)
Whatever.
Ah, @#%$ it… I’m gonna go smoke, I’ll be back in a few to lock up.

Satan
Yuh.

Panel 2
Close shot of Wolvie, from the shoulders up. He’s ignoring the magazine for a moment to sniff at the air. We see that Wolvie was just looking at the Emma Frost centerfold, or else she’s on the cover if the other way isn’t possible. Deadpool is in the background over Wolvie’s shoulder, towards the back of the store, walking towards us.

Caption
This man wears a blue and gold uniform of a different sort--

Caption (cont.)
--and his shift never ends.

Logan (thinking)
That smell…

Panel 3
Reverse shot; close on Deadpool now, from behind, as he closes in on Wolvie only a dozen steps away. Wolvie is half-turned, so Deadpool can see his profile now.

Caption
And this man… well, let’s just say that he has a problem with most men in blue and gold.

Deadpool
--and if I miss Extreme Dating because you forgot to tell me I needed to do--

Blind Alfred (radio)
Can the whining, Bumpy, this should be a cakewalk for a hero like y--

Deadpool
I told you not to call me that.

Blind Alfred (radio)(linked)
Oh, what, you don’t like it when mean old “Helen Keller” makes fun of your leprosy? I think I’ve earned the right to--

Deadpool
The H-word. I told you not to call me--

Panel 4
Close-up on Deadpool’s face, eyes narrowed, scowling.

Deadpool (linked)
Al, you better go ahead and TIVO my show for me, this is gonna take longer than I thought. I think I see me a celebrity.

Deadpool
Hey, guy, I hate to bother you--

Panel 5
Medium shot of Wolvie and Deadpool squaring off. Wolvie has completed his turn and is now crouching, claws springing from his knuckles, scowling at Deadpool. Deadpool’s going for his sword with his right hand, something at his waist with his left.

Deadpool
--but weren’t you in Brokeback Mountain?

Wolverine
Deadpool. I knew it. Not so often you catch the scent of blood, gun oil and Cap’n Crunch coming from the same person.

Deadpool
Actually, it was Boo Berries.

Wolverine
I’m glad you’re enjoying this, Wilson. I know I will.

Deadpool
Well, then--

Deadpool (cont)
--snikt or get off the pot, Mutton Man, I ain’t got all night!

Panel 6
Medium shot of Wolvie lunging at Deadpool, spearing him in the stomach and lifting him off the ground. Deadpool’s sword has flown from his grasp. They’re slamming into a wall of movies, a large display of some crappy Marvel movie, like Nick Fury: Agent of S.H.I.E.L.D. or some such crap.

Wolvie
With pleasure!

Wolvie
RAARGH!!

Deadpool
HURNK!!

Page Two

Panel 1
Medium shot, Wolvie is straddling Deadpool, the claws of his right hand pinning Deadpool’s shoulder to the wall they’ve landed against. His left hand is raised, ready to strike, but his head is spinning back to look behind him. Deadpool looks like a kid in a candy shop, having the time of his life, despite the beating he’s already taking. The first three dialogue balloons will be on the left of the panel, so we won’t see Wolvie’s head spinning until after Deadpool’s ruse.

Deadpool (quiet)
Hiyo, cowboy! =kaff= you sure you weren’t in--

Wolverine
I’m not in the mood for games, merc. Tell me who to kill for sending you after me and I’ll make this quick.

Deadpool (linked)
You can’t kill me now, Logan, not if you don’t want Teresa to start shrieking. You kill me in front of her and you kill everyone in here.

Deadpool (quiet)
holy mother of mary-kate and ashley olsen--

Panel 2
Full shot. Deadpool blasts the distracted X-Man with both barrels of a bean-bag loaded sawn off combat shotgun. Basically a reverse of Panel 1 from this page, wider, Deadpool is still backed against the wall of movies, many of which are now piled on the ground around his feet. Wolvie is being thrown towards us by the blast, his face contorted from shock and pain.

Deadpool (linked)
You actually @#$%ing fell for it!! You’re losing your gift, old man!

Wolvie
AARRRRGH!!

Panel 3
Medium shot. Wolvie thrusts upwards in an uppercut, Deadpool is leaping to avoid Wolvie’s attack and slashing at him with a large knife in his right hand. His left hand is pulling his utility belt from his waist.

Wolvie
And you’re wasting yours! Why do you do this, Wilson? Why go aft--

Deadpool
Yeah, thanks for the lecture, Mom, but I’m on a deadline here, so I’m gonna have to--

Deadpool (linked)
--wrap this up!

Panel 4
Deadpool’s belt has wrapped itself around Logan’s head, teleporter belt buckle conveniently ending up right smack in the middle of Wolvie’s face, as if he’s wearing a highly stylized, cartoony version of Deadpool’s regular mask. The large knife has left Deadpool’s possession as well; it is now sticking hilt deep through the belt, right next to the buckle, holding it firmly on Logan’s head.

Deadpool
And now I call upon thee, O Saints of Slapstick,--

Deadpool
--in the name of the Larry, the Curly, and the Holy Mo, I cast this heathen--

Panel 5
Close shot of Wolvie’s head, a caricature of Deadpool with the belt buckle covering his face and held in place with a Crocodile Dundee knife. He got a hand up in front of his face in a defensive gesture, the front of his hand facing Deadpool, claws in front of his face. Deadpool is jabbing at the teleporter with his index and middle finger, a la Three Stooges; his hand is being cleaved in the process, as it’s not being blocked by a side-turned hand but three razor sharp Adamantium claws. His arm should enter from the forearm, panel left.

Deadpool
--OOUURRRGGGHHHH!! WHY DID I DO THAT?!

Panel 6
Small borderless silhouette of Wolvie teleporting, same effect from Page One, Panel 1.

Page Three

Panel 1
Medium shot of Deadpool at counter, holding a DVD in Satan’s face with his left hand, which is mostly healed now but still showing some damage, and a very large, high tech pistol to Satan’s temple with his right. Satan’s about to piss himself at any moment. Deadpool’s first two dialogue balloons need to be positioned so that Satan’s name tag is in between them (it reads ‘S(a)tan’), leading the reader to read the nametag almost as part of the dialogue

Deadpool
Howdy--

Deadpool (linked)
--Satan--

Deadpool (linked)
You think you can scan this in so’s I don’t get a late fee, or do I kill you now and get the chubby kid to do it?

Panel 2
Close-up of Satan’s face. He’s sweating nervously, but he’s not incapacitated with terror.

Satan
Oh, @#$%, dude, are you serious?

Satan
I mean, it’s past midnight--

Satan
--it won’t let me now.

Panel 3
Close shot of ‘Pool, still pointing his gun at Satan, but the hand holding the DVD has dropped to the counter.

Deadpool

Satan
And besides, dude, you like, totally trashed my store! I mean, it was frickin’ awesome, but you’re not gonna help me clean this shit up!

Deadpool
You know, you got some balls for a virgin! Maybe I will help you clean up--

Panel 4
Exterior, Blockbuster parking lot. All of the customers and employees from inside are in the parking lot now. Most are running from/being thrown by the explosion, with the exception of Satan, Brad and Deadpool. Satan and Brad are panel front, on the left side; Brad is holding a pipe out to Satan, Satan is throwing up the metal horns and head-banging. ‘Pool is mid-panel, walking towards us like a badass outta Hell.

Deadpool (linked)
So how’s our houseguest?

Blind Al (radio)
Not happy. At least he wasn’t until Extreme Dating came on. He calmed right down after that.

Deadpool
You better not let that monkey use my recliner! And don't let him look at my...

Caption
The End, Bub.

**Kevin J.M Redden** · 11-20-2006, 01:46 AM

hey wer matched 4 the xmas thingy

**amadarwin** · 12-01-2006, 10:11 AM

Reposting Ielle's script for easier location:

Devil’s Advocate

Spiderman property of Marvel
Story by Ielle Palmer 2006

PAGE ONE, Six Panels

Panel One: Evening - Fullshot of Spiderman smashing into a park water fountain, kicking up a huge spray every which way. Various people nearby are looking up alarmed.

CAPTION: “He’s not a menace!”

SPIDEY: Oofff!

Panel Two: Medium LS of DOC OC using one of his mechanical arms to lift Spidey up by the jaw and shake him.

CAPTION: “Liz… he’s just misunderstood.”

CAPTION 2: “Ugh, here we go. Harry, make her stop.”

Panel Three: LS of Doc tossing Spidey away towards some benches.

CAPTION: “Oh no, I’m not getting involved, this is between you two.”

Panel Four: CU of Spidey’s thrusting his hands outward, his webs spring outward.

CAPTION: “He’s a freak MJ…”

Panel Five: WA of Spidey. He has sling shoot himself around a lamp-post and is heading back at DOC OC (MS of DOC in the foreground, ready to fight) his foot outstretched so that it’ll be the first thing to hit DOC.

CAPTION: “…They say he’s the reason all these other nutjobs are popping up all over town…”

Panel Six: CU of Spidey’s foot connecting with Doc’s jaw, smashing his face sideways.

CAPTION: “...for godsake, the man’s killed people!”

PAGE TWO, Five Panels

Panel One: LS of Spidey flying off away from the scene as cops are arriving. Doc OC is in the foreground, tied up in webbing and unconscious.

CAPTION: “Oh, that stupid Daily Bugle. It gets everything wrong. Liz, if only you knew him like I do.”

Panel Two: LS of Spidey leaning on the billboard letters atop of the awning of an old second run movieplex. MS of MJ, Flash, Harry and Liz laughing & rough housing while leaving from a late night film. They seem so happy having a normal teenage life. Meanwhile Spidey’s posture shows how he wishes that he could be down there with them.

CAPTION: “Oh-my-god! You don’t know him MJ! You’ve met him twice. And if I remember correctly, he didn’t stick around very long either time.”

Panel Three: CU of Spidey ducking as a laser blast misses him and smashes into the bricks behind him. His spidey-senses have been tripped, but nearly too late thanks to the MJ distraction.

CAPTION: “What, you’ve never made a snap judgment about someone?”

Panel Four: Medium LS of Spidey shooting a web up into the air and jumping up off the movieplex’s awning towards Green Goblin who is attacking him.

CAPTION: “…I’ve seen what he can do. If anything, he goes out of his way not to hurt anyone. Even the nutjobs you're talking about.”

Panel Five: Extreme LS of Spidey swinging through NYC chasing after Green Goblin who is speeding off on his flying machine.

CAPTION: “He’s never asked for anything in exchange. He goes out there and tries to make a difference and all you can do is sit here complain. You’re such a brat!”

GG: Hee hee hee hee!!

Spidey: (just the standard angry scribble cloud, no actual dialogue)

PAGE THREE, Six Panels

Panel One: MS of Spidey on a rooftop taking a break, holding a soda, his mask is pushed up over his nose. His shoulders are sagging from exhaustion, his head hanging a bit.

CAPTION: “…We should be begging his forgiveness and throwing him tinker-tape parades.”

CAPTION 2: “…Please Harry, she’s killing me.”

Woman (O.P): Help!

Spidey: *sigh*

Panel Two: Ext. Queens – We’re back in Peter’s semi-nice neighborhood. LS of Spidey hanging upside down from a tree, passing a cat back to some eager old woman. Dawn is starting to break.

CAPTION: “Jesus MJ, Liz’s right. You make him out to be a saint.”

Panel Three: High Angle MS of teenaged Liz, MJ and Harry sitting around a table in the library talking. Annoyed, Liz is throwing up her hands at Harry (who is leaning away from her, since she looks as though she could easily bring her arms down and smack him in the face). Across from them, MJ has turned her attention to a nearby table, where PETER is sitting in the background, passed out into one of his books.

Liz: Do you see? Do you see what I deal with every fricken day? Spiderman this, Spiderman that. It’s not healthy!

MJ: Peter?

Panel Four: MS of Mary Jane now leaning on Peter’s table looking down at him, concerned. Peter is trying to wipe the drool away and not look like a retard in front of her. He’s completely embarrassed that she found him like that. In the background we can still see Liz flipping out on Harry, who still looks concerned for his own safety.

PETER: Oh, uh sorry… Hi MJ.

MJ: Don’t take this the wrong way Peter, but you look horrible.

PETER: Thanks?

MJ: If you want, we could reschedule our tutoring thing tonight-

Panel Five: MS of MJ sitting across from Peter smiling away. She’s looking at his books to see what he’s reading. He on the other hand can’t take his eyes off her.

PETER: No!... I-I mean, you’re not getting out of algebra that easy.

MJ: Honestly Peter Parker, if I didn’t know any better I’d say you were out living it up last night. Silly, huh?

Panel Six: CU of Peter, utterly exhausted and sheepishly looking off to the side.

Peter: Yeah, silly.

End
[/QUOTE]

**amadarwin** · 12-01-2006, 10:12 AM

First post updated 12/01/06

**DredRandal** · 12-03-2006, 09:19 AM

Here's a three page Batman story that I just put together. Artist feel free to draw and use for portfolios or whatnot. Fellow scribes feel to free to critique and let me know whatcha think.
“Harvey’s Question”

Page One
Art:
Page is a five panel page with one wide panel at the top and four squares beneath that. Panel one shows Batman chasing Two-Face across a building rooftop at night. Panel two shows Two-Face taking a couple of quick shots at Batman with his pistol. Panel three shows Batman dodging out of the way of the gunfire and throwing a Bata rang. Panel four shows a shot of Two-Face getting his gun knocked out of his hand. Panel five shows Two-Face jumping off the edge of the building.

Dialogue:

Panel One
Two-Face: You’ll never catch me if you don’t double your pace, old friend.

Batman: Stop Harvey, before more people get hurt.

Panel Two
Two-Face: I think it’s a little late for that, don’t you?

Panel Three
Batman: Harvey, we can get you help.

Panel Five
Two-Face: Nothing can help me now Bats. It’s time I accept fate. Time to flip the coin and get the verdict

Page Two
Art:
Page is a splash page with three insert panels running down the left side of the page. The splash page shows Batman diving off the edge of the building after Two-Face with Two-Face falling below him. Panel one shows Batman catching Two-Face in mid air. Panel two shows Batman holding Two-Face, still falling, and shooting his grappling gun into the air. Panel three shows Batman and Two-Face swinging onto another rooftop.

Dialogue:

Splash Page
Batman: (Capt.) Harvey does exactly what I count on. He’s cornered so he dives off the building.

Panel One
Batman: (Capt.) And within seconds my body does what it’s been trained to do.

Panel Two
Batman: (Capt.) By reflex my muscles spring into action performing perfectly.

Panel Three
Batman: (Capt.) Just like always I swing us onto another building’s roof and onto safety.

Page Three

Art:
Page is a splash page showing Two-Face kneeling in front of Batman with his head in his hands. Batman is standing in front of Two-Face as his cape is flowing in the wind.

Dialogue:

Splash Page
Batman: (Capt.) Then he asks me a question I’m not ready for and for which I have no answer.

Harvey: Why won’t you just let me die!!!

The End

The first thing I would do is restructure it into digestable chunks, thusly so:

“Harvey’s Question”

Page One
Layout:
Page is a five panel page with one wide panel at the top and four squares beneath that.

Panel One:
Panel one shows Batman chasing Two-Face across a building rooftop at night.

Two-Face: You’ll never catch me if you don’t double your pace, old friend.

Batman: Stop Harvey, before more people get hurt.

Panel Two:
Panel two shows Two-Face taking a couple of quick shots at Batman with his pistol.

Two-Face: I think it’s a little late for that, don’t you?

Panel Three:
Panel three shows Batman dodging out of the way of the gunfire and throwing a Bata rang.

Batman: Harvey, we can get you help.

Panel four:
Panel four shows a shot of Two-Face getting his gun knocked out of his hand.

Panel Five:
Panel five shows Two-Face jumping off the edge of the building.

Two-Face: Nothing can help me now Bats. It’s time I accept fate. Time to flip the coin and get the verdict.

Page Two:
Layout:
Page is a splash page with three insert panels running down the left side of the page.

Splash Page:
The splash page shows Batman diving off the edge of the building after Two-Face with Two-Face falling below him.

Batman: (Capt.) Harvey does exactly what I count on. He’s cornered so he dives off the building.

Panel One
Panel one shows Batman catching Two-Face in mid air.

Batman: (Capt.) And within seconds my body does what it’s been trained to do.

Panel Two:
Panel two shows Batman holding Two-Face, still falling, and shooting his grappling gun into the air.
Batman: (Capt.) By reflex my muscles spring into action performing perfectly.

Panel Three:
Panel three shows Batman and Two-Face swinging onto another rooftop.
Batman: (Capt.) Just like always I swing us onto another building’s roof and onto safety.

Page Three

Layout:
Page is a splash page showing Two-Face kneeling in front of Batman with his head in his hands. Batman is standing in front of Two-Face as his cape is flowing in the wind.

Harvey: Why won’t you just let me die!!!

Batman: (Capt.) Then he asks me a question I’m not ready for and for which I have no answer.

The End

As for the content, it's pretty standard fare. The dialogue does a lot of telling what you're seeing. I'd rather see him doing these things but using the captions to add some more dimension to the story. maybe eluding to why batman's chasing him or better yet, some insight into Two-Face's psyche.

My problem with the ending is that this is Batman. In many other situations, the main character's response to that question would be plausible. Batman, however, has been answering that question for decades. He doesn't kill his adversaries (not counting the films or perhaps recent events, I haven't picked up a Batman book in ten years, so I'm not certain on this.) because, despite his being a vigilante, he works in conjunction with the legal authorities. His whole purpose is to bring to the police the criminals that the police can't handle on their own. Though he recognizes it's faults, Batman believes in the justice system and the majority of Batman fans would find his response here out of character.