Doomcember - Shred - Page 30

1 - Chris walks out of the apartment entrance, smoking.  Robert looks up at her arrival.

ROBERT (1): So?

ROBERT (2): How'd it go?

CHRIS: Well...

2 - Evelyn and Mary stand on a rooftop together, looking down as Chris and Robert walk home.

CAPTION (CHRIS): ...I guess it could have gone worse.

Start from the beginning.

Doomcember - Shred - Page 29

1 - Mary, still on top of Chris, pauses. Her formerly furious expression is replaced by a confused / scared / ashamed one.

NO COPY

2 - Mary is off Chris and running away down the hall towards a window at the end of it.

CHRIS: Mary!

3 - Mary jumps and breaks through the window, flying through the air.

SFX: krsh!

4 - Chris is at the window, looking out into the early morning. Her expression is hard to read.

NO COPY

Next page.

Start from the beginning.

Doomcember - Shred - Page 28

1 - Mary is out and standing in the hallway in a pile of splintered door. She is now a Shifter and she looks mad as hell (perhaps one hand on the ground in an animalistic three-point stance). Chris, still sitting, has her hands out in a placating manner.

CHRIS: Mer...

2 - Mary dives and lands on top of Chris, scratching her up. Chris has her arms up to protect her face / upper-body.

NO COPY

3 - Chris manages to get a hand up under Mary's chin, trying to push her away and off.

CHRIS: I know part of you is still in there.

4 - Mary rakes at Chris's arm, causing her to loose her leverage. Blood flies from the wound

CHRIS: And you need to know that I love you--!

5 - Mary sits on top of Chris's prostrate form, hands raised to claw the heck out of her. Chris looks up at her sister, accepting her fate, whatever it may be.

CHRIS: ...And I always will.

Next page.

Start from the beginning.

Doomcember - Shred - Page 27

1 - On Chris' clenched fist.

CHRIS (off-panel): She'd been sick for so long.

2 - On the same first, unclenching.

CHRIS: Part of me didn't believe she'd ever go.

3 - On her now unclenched hand. Her cigarette lays upon her palm, all crushed and ruined.

CHRIS: ...Couldn't believe.

4 - On Chris, still sitting at the door, her hands on her face, looking through / past her splayed fingers.

CHRIS (1): And I keep seeing her.

CHRIS (2): Wanting her to be in there somewhere...

5 - Chris runs her hands through her hair in frustration / tiredness.

NO COPY

6 - Chris stops, her eyes wide at the sudden bang on the door from within the apartment.

SFX: Whump

Chris (quietly): Mer--?

7 - Before Chris can finish her thought, the door explodes outwards over her head. She is shocked and afraid, but hasn't yet really had time to process this, the event is so sudden.

SFX: KRR-ack!

Next page.

Start from the beginning.

Doomcember - Shred - Page 26

1 - Chris sits on the floor, her back to Mary's door. She holds her lighter in one hand, a cigarette in the other.

CHRIS: ...I know you're still mad about Dad.

2 - On Chris' lighter as she attempts to ignite a flame. All she gets are some sparks.

SFX: skrtch

CHRIS (off-panel): I miss him, too. You know that, right?

3 - On the lighter. This attempt doesn't even yield a spark.

SFX: skrtch

CHRIS (off-panel): And I wasn't the only one who thought he'd be better off in a home.

4 - On the third attempt, Chris gets some fire.

SFX: skrtch!

CHRIS (off-panel): Evelyn -- Mom --

5 - The lighter's flame is joined on panel by Chris' cigarette, but the two do not touch.

CHRIS: ...

6 - On Chris, sitting against the door. The lighter is out, the cigarette remains unlit in her other hand, and Chris lowers her head, leaving her face obscured by the darkness.

CHRIS: Mer. Mom's gone.

Next page.

Start from the beginning.

Doomcember - Shred - Page 25

1 - Close on Chris' fist raised and ready to knock on the door.

NO COPY

2 - On Chris, recoiling in surprise at the cough from within.

MARY (from within): hargk!

3 - Chris furrows her brow, uncertain of what she's just heard.

CHRIS (quietly): Mer?

4 - On the door.

NO COPY

5 - On the door, moving closer and with a focus on the peephole.

MARY (from within): Chris?

6 - On the door and peephole, so close that we're really just looking at the peephole's glass, possibly seeing a warped reflection of Chris standing in front of it.

MARY (from within): What are you doing here?

7 - On Chris, having gathered her senses a bit more and looking determined. Or more determined. Perhaps she's still holding one arm with the other or biting her lower lip as she searches for the right word.

CHRIS: I'm-I'm here to make things right.

8 - Back on the door.

NO COPY

9 - Long shot looking down the hallway towards Chris. She bows her head in defeat. She should be small due to the distance.

MARY (from within): You should leave.

Next page.

Start from the beginning.

Doomcember - Shred - Page 24

1 - Walking through a slightly less destroyed street, Chris and Robert come upon what's left of an apartment building entrance. The trail of smoke from last page rises in the background.

CHRIS: Here we are

2 - Chris starts to rip down / move the rotting boards that block the entrance. Robert looks on, sceptical.

ROBERT: Your sister lives here?

3 - Chris pauses in her board moving to turn and glare at Chris. Chris looks contrite.

ROBERT: Why don't I wait outside?

4 - Chris walks through the apartment foyer, which is just as desolate and abandoned as the entrance.

NO COPY

5 - Walking up the stairs, Chris pauses to cough.

CHRIS: hargk! hargk!

6 - Chris walks down a ratty hallway, detritus littering the floors and the like, towards a closed door at the end of the hall.

NO COPY

7 - On the closed door.

NO COPY

Next page.

Start from the beginning.

Doomcember - Shred - Page 23

1 - Insert panel. Close on Robert's face, as he looks on in shock and horror at what he sees.

CHRIS (off-panel): ...Planning to do the same.

2 - Splash. Chris and Robert are dwarfed by the absolutely enormous hole in the city that they stand next to. The crater is a city block or so in diameter, cutting deep into the world. Whatever came out burst from underground before things sank back in. From the hole's depths, a thin trail of dark, smoke-like air emerges, heading up to the sky to create that smog that has been visible. The entire effect may look like a black fire or possibly a small mushroom cloud.

NO COPY

3 - Insert panel. Chris walks  off around the perimeter of the crater; Robert continues to stare into the abyss.

CHRIS: Come on. My sister lives nearby.

Next page.

Start from the beginning.

Doomcember - Shred - Page 22

1 - Chris and Robert walk the city streets as the sun rises to begin a new day.  Chris smokes A cigarette. Rays of the dawn sun shine down on them, partially obscured by what looks to be really bad smog - keep this going throughout the page, perhaps getting worse panel by panel as they advance.

CAPTION (CHRIS): We need to go.

2 - The two continue to walk, the streets as filled with destruction and debris as before (perhaps more so). Chris continues to smoke her cigarette. Robert trails behind ever so slightly, clearly wanting to talk about things.

NO COPY

3 - Another panel of them walking. Chris flicks away a finished cig; Robert is as conflicted as ever.

NO COPY

4 - This time around, they are climbing a particularly large piece of building to continue along their way. Chris helps Robert crest the top, pulling him up over the final bit. Chris still has the cigarette in her mouth.

NO COPY

5 - In top of their newly achieved summit. Robert has his hands on his knees, panting to regain his breath. Chris coughs.

CHRIS: hargk!

ROBERT: Aren't you going to say anything to me? We've been walking for hours.

6 - Chris looks at Chris, an annoyed look on her face. Robert is taken aback at her frustration and is awkwardly defensive.

CHRIS: Where were you the day of The Attack?

ROBERT: Uh, I was uptown visiting my Dad.

CHRIS: I was heading here...

Next page.

Start from the beginning.

Doomcember - Shred - Page 21

1 - Evelyn stares at Chris, the usual Shifter madness on Evelyn's face.
LETTERING NOTE: The norm of Shifters having black balloons and white letters.

EVELYN: hiss

2 - Evelyn's expression changes to one of concern.

EVELYN: chriss

3 - Chris runs away, fear in her eyes. Behind her, Evelyn watches as Chris runs. Behind that, Ethain struggles in his doomed fight.

EVELYN: runnn

4 - Chris runs through the camp, ignoring the violence and destruction going on about her (maybe some fire starting up).

NO COPY

5 - Chris rounds a corner and - not seeing him in time- slams headlong into Robert.

BOTH: oof!

6 - Chris and Robert sit opposite each other on the ground. Chris is flummoxed. Robert is busy catching his breath.

CHRIS: Robert?!

Next page.

Start from the beginning.

Doomcember - Shred - Page 20

1 - Ethain, still by the cage, looks at the camp, as Shifters rip through tents and people alike. While what he sees is horrible, he mostly has a look of confusion on his face.

ETHAIN (quietly): ...But they shouldn't know how to coordinate on this scale...

2 - Close on a Shifter hand grabbing Ethain's arm through the cage bars.

3 - Ethain struggles to break the Shifter's grip and get away. Others reach for him; one reaches to grab the cattle prod that Ethain has dropped. Chris moves to help.

CHRIS: Ethain!

4 - A Shifter (Evelyn, although that may not yet be obvious) leaps from off-panel and lands between Chris and Ethain.

NO COPY

Next page.

Start from the beginning.

Doomcember- Shred - Page 19

1 - Chris and Ethain still at the cage. Chris is somewhat perturbed / unimpressed at Ethain's violence; Ethain looks at her dismissively.

CHRIS: Is that really necessary?

ETHAIN: *Pfft*

2 - Close on many Shifter feet running.

CAPTION (ETHAIN): They're mindless freaks.

3 - Close on a gun firing, the muzzle flash bright in the night.

TAILLESS WORD BALLOON: We're under attack!

SFX: krakka krakka krakka

4 - Close on a Shifter claw slashing.

TAILLESS WORD BALLOON: AARGH!

5 - Close on blood, either splashing through the air or puddling on the ground.

NO COPY

6 - Shot of the compound (as at the top of page 17), but it is now overrun by Shifters. Tents and awnings have fallen, fences have been overturned, and little skirmishes are possibly visible throughout. Chris and Ehtain remain near the cage (although this needn't be explicitly clear to the reader).

CAPTION (ETHAIN): What're they gonna do?

Next page.

Start from the beginning.

Doomcember - Shred - Page 18

1 - Ethain turns and looks away from Chris.

ETHAIN (1): At first, it was just something to do.

ETHAIN (2): A way to pass the time. To exert some control on our world. Or maybe to get some payback against the things that changed it.

2 - Switch to a few of the Shifter bodies that the Hunters brought back. They lie in the same cage as the living Shifters.

ETHAIN: Eventually, we realized people would trade for the bodies.

3 - On the living Shifters. They stand near the bars, perhaps looking less angry and more tired.

ETHAIN: Been hearing lately that demand is higher for living ones.

4 - On Ethain walking towards the cage, picking up a cattle prod as he goes.

ETHAIN: So we're giving that a go.

5 - Ethain is at the cage and gives a big ol' prod to one of the Shifters, who wigs out under the pain and electric. The others shirk away at the action.
LETTERING NOTE: As always, Shifter word balloons should be black with white letters.

ETHAIN: Doesn't mean we can't still rattle their cages on occasion

SHIFTERS: hisss

Next page.

Start from the beginning.

Doomcember - Shred - Page 17

1 - The Hunter "base", as it were.  It's a pretty temporary-looking affair.  There's a number of tents / canvas awnings erected in a little group, along with a cage area with some Shifters within it (including the ones the group just brought back).  There's perhaps some slipshop fences erected around the perimetre - either materials hastily thrown together or elements of the landscape converted into makeshift barriers (overturned cars, etc.).
LETTERING NOTE: Chris' word balloon comes from within an awning near the Shifter cage.

CHRIS (from within): So when you said you had a doc back at camp...

2 - Under the awning.  Chris sits on a makeshift table as Ethain finishes wrapping some bandaging around her now-repaired leg.

ETHAIN (1): Mostly meant camp had supplies I'd need.

ETHAIN (2): Multiple hats, yeah?

3 - On Chris, looking at and giving a feel for her leg.  She looks pretty satisfied.

CHRIS: Well, you're pretty good at this doctoring gig.

4 - Shift to behind the two looking out from the awning onto the caged Shifters.  A couple of Shifters stand at the bars, looking mad (as they so often seem to).  Maybe Chris is pointing at them.

CHRIS: ...So why do you and yours go out looking for this kind of trouble?

Next page.

Start from the beginning.

Doomcember - Shred - Page 16

1 - The same clearing. Ethain is piling the Shifter bodies onto a sledge. Chris sits nearby, nursing / wrapping her leg.
NOTE: We could consider having each panel (which is of the same scene) be slightly further back, giving a wider and wider view of the area.

NO COPY

2 - Andres and Roy return dragging a couple of Shifters behind them in a net. Ethain looks up and says something to them.

NO COPY

3 - They've piled the netted Shifters onto the sledge and are pulling it away from the clearing back towards camp. Ethain helps Chris along, supporting some of her weight.

NO COPY

4 - The figures are mostly out of view. We've moved far enough back to reveal Evelyn watching the scene from some distance away. Her expression is neutral, hard to read.

NO COPY

Next page.

Start from the beginning.

Doomcember - Shred - Page 15

1 - Ethain, Roy, and Andres stand amid the area where Chris had been facing off with the Shifters. These three men are all young (early twenties, if not earlier) and in varying states of scrawny to athletic. They wear similar clothing, all in a style that could be called The Warriors meets Mad Max (think matching motifs, weird hats, scars, tattoos, etc). Ethain gives an order to the other two.

ETHAIN: Roy, Andres, go track down the stragglers.

2 - Ethain turns his attention to Chris, offering a hand to help her up.  Chris does not reach to take it.

ETHAIN: You alright?

3 - Close on their hands, as Chris bats Ethain's away.

CHRIS: I didn't ask for help from Hunters.

4 - Chris awkwardly shimmies her way back up to her feet while trying to avoid putting weight on her injured leg p.  Perhaps Chris uses some nearby rubble or whatever for leverage.

ETHAIN (off-panel): Cone on, we're not all bad.

5 - On Chris' legs as she limps away.

ETHAIN (off-panel): We got a doc back at camp.

6 - On Chris' legs as she starts to take another step.

ETHAIN (off-panel): He could take a look at your leg.

7 - On Chris' legs. She has stopped walking.

NO COPY

8 - On Chris' legs. Shoe has turned around and looks towards Ethain.

NO COPY

Next page.

Start from the beginning.

Doomcember - Shred - Page 14

1 - Close on Chris' shocked eyes.

NO COPY

2 - Close on the dead Shifter, blood pooling around its head.

NO COPY

3 - Close on the Shifter at Chris' legs, pulling them out from under her.

NO COPY

4 - On Chris and the Shifters around her. Chris lies on the ground, eyes closed and making herself as small as she can. The Shifters are being hit by more bullets, some in vital areas, some in less key ones. A few go down, others make to leave. The Shifter on top of Chris is hit, thus why it doesn't tear the hell out of her. One way to render / emphasize the bullets would potentially be to have little insert boxes around them to make them pop more for the reader.
LETTERING NOTE: The BLAM!s should be all over the page to get across the point that there are lots of bullets / shooters.

SFX: BLAM! BLAM! BLAM!

5 - Close on Chris' still closed eyes.

NO COPY

6 - On Chris as she opens her eyes to see a set of legs standing next to her pointing a gun in her direction. The top of the figure is cut off by the panel edge. Chris is terrified.

NO COPY

7 - Similiar panel, but it becomes clear the figure is aiming at the fallen Shifter next to Chris. The figure pulls the gun trigger, killing the Shifter.

SFX: BLAM!

Next page.

Start from the beginning.

Doomcember - Shred - Page 13

1 - Chris thrusts the flare at the stomach of one Shifter, burning it.

NO COPY

2 - Chris turns and slashes at another, drawing some neon-bright blood.

NO COPY

3 - Chris waves the flare in an arc to keep a group of Shifters at a distance.

NO COPY

4 - A Shifter sneaks up from behind Chris, grabbing onto her leg and biting.  Chris lets out a pained groan.

NO COPY

5 - A second Shifter leaps through the air, aiming to tackle Chris to the ground.

NO COPY

6 - A big "BLAM!" appears around the leaping Shifter's head, as a bullet rips through, killing it.  The Shifter's body goes ragged immediately.  Chris has her arms up to protect herself against the oncoming Shifter, not yet realizing what has happened.

SFX: BLAM!

Next page.

Start from the beginning.

Doomcember - Shred - Page 12

1 - Chris looks around to realize that she is surrounded by five or six other Shifters, each coloured in different strange and bright hues.  They look angry.  Chris looks worried.  She has dropped her bag.
LETTERING NOTE: As always, Shifter word balloons should be black with white letters.  I'd like multiple balloons, one per Shifter.

SHIFTERS: hisss

2 - Close on Chris's arms reaching into the bag.

NO COPY

3 - Close on Chris pulling out the flare and knife.

NO COPY

4 - Close on Chris as she uses the knife blade to set off the flare.

SFX: SKRTCH

5 - Chris stands, the knife in one hand and the lit flare in the other.  She looks ready and determined.

NO COPY

Next page.

Start from the beginning.

Doomcember - Shred - Page 11

1 - Chris is on the ground, bruised and scraped a bit from the fall.  Her bag lies beside her, having come off on the landing.  She looks at the slumped Shifter near her, whose colours match Evelyn's.

CHRIS: Evelyn?

2 - The Shifter looks up, menace and hate on its face.  It is not Evelyn.  It could even be a man to really emphasize the difference.
LETTERING NOTE: Shifter word balloons should remain black with white letters.

SHIFTER: hisss

3 - Chris is up, holding her bag at her side.  The Shifter springs towards her, flying through the air.

CHRIS: Guess not.

4 - Chris slams her bag into the Shifter's face, sending it sprawling.

NO COPY

5 - Chris stands, holding her bag and panting from the exertion.  Her attention is drawn by sounds coming from sources off-panel.  The Shifter lies on the ground, prone.
LETTERING NOTE: There should be many "hisss" coming from off-panel.  The balloons should be black with white letters.

SHIFTERS (off-panel, multiple): hisss

Next page.

Start from the beginning.

Doomcember - Shred - Page 10

1 - Chris walks on through the city.  Things are relatively fine in her immediate area, but it's clear that destruction lies ahead.

CAPTION (CHRIS): She's across town.

2 - Later in the afternoon, Chris is walking around big pieces of debris where buildings have collapsed into the street.

CAPTION (CHRIS: But it's only a few hours walk.

3 - We're into night time.  The difference between street and building is unclear, because most everything seems to have collapsed.  Chris climbs among the big pieces of rubble, trying to make forward progress.

CAPTION (CHRIS): I'll be there well before dusk.

4 - On Chris as she looks in surprise at something coming her way.

NO COPY

5 - A Shifter dives from off-panel, tackling Chris off her feet (and off the current piece of rubble she's on).  It isn't necessarily possible to make it out from this panel, but the Shifter is Evelyn (the colours could be a good hint at that).  EDIT: The Shifter's colours look like Evelyn's, but it is not her.

CAPTION (CHRIS): So the Shifters won't even have a chance to bother me.

Next page.

Start from the beginning.

Doomcember - Shred - Page 9

1 - Chris marches down the hallway, Robert chasing after her.

ROBERT: What?  Where are you going?

CHRIS: To see my sister.

2 - Robert follows Chris down the stairs (the same from page 4).

ROBERT: But you never talk about her!  Why would you go visit her?  And why now?

3 - Like on page 4, the doorman is once again startled by Chris calling down.

CHRIS (off-panel): Get that door open!

4 - Chris stands outside the open gate looking at Chris, who stands within it (perhaps paralleling Chris and Evelyn in panel 6 of page 5).

CHRIS: It's like I told Evelyn.  Some people hang on for longer than others.

5 - Chris walks along the street, her back to the reader.

CAPTION (CHRIS): I want to make sure I see Marian again before either of us hits "long enough".

Next page.

Start from the beginning.

Doomcember - Shred - Page 8

1 - The next morning.  Outdoor view of the apartment building.  Robert's voice comes from within.

ROBERT (from within): Alright...

2 - In Chris' apartment.  Chris is looking at a bunch of objects laid out on her couch (not yet visible), while Robert is walking in, looking down at a notebook that he's writing away in.

ROBERT (1): It's a new day and people are going to want to know what's next.

ROBERT (2): It's still too cold to grow anything, but we should keep tending the gardens in case that changes.

ROBERT (3): Which leaves us with the usual options:

3 - On Chris' couch.  A whole bunch of items related to survival are laid out, along with a big back pack to put them all in.
LETTERING NOTE: Robert's dialogue should be placed throughout the page to match to particular items.  "Raiding" is next to a road flare and a small knife, "looting" is next to some tools and a flashlight, "and scavenging" is next to some food (not a lot), and "Wait--" is next to the back pack.

ROBERT (off-panel) (1): raiding,

ROBERT (off-panel) (2): looting,

ROBERT (off-panel) (3): and scavenging.

ROBERT (off-panel) (4): Wait--

4 - Back on Robert, who has looked up from his notebook and hasn't (or doesn't want to) put together what he's seeing.

ROBERT: What are you doing?

5 - Chris is walking out of the room with the packed bag on her back, already past Robert.  She wears a look of determination, while Robert just kind of turns to watch her trajectory but does not yet move to follow.

CHRIS: I'm leaving.

Next page.

Start from the beginning.

Doomcember - Shred - Page 7

1 - Robert and Chris sit on the edge of the rooftop.  Robert is wistful; Chris makes a face.

ROBERT: You don't know that's what Shifting is.

CHRIS: Robert, Evelyn's dead!

2 - Back on Evelyn, who continues to stand in the street, looking up at the two rooftop figures.

ROBERT (off-panel): But she got back up.

3 - 5 - These three panels show close-ups of others "shifted" people, each a different set of otherworldly, glowing colours.

3 - A bright blue and red hand reaches across the corner of the entrance to an alley.

ROBERT (off-panel): The attack happened less than half a year ago.

4 - A yellow and purple foot walks along the street.

ROBERT (off-panel): It's too early to know what anything means.

5 - A white glowing eye (set in a pink and red face) looks through a broken fence.

ROBERT (off-panel): Evelyn could still be in there somewhere.

6 - On Evelyn in the street.  She turns to see a number of other "shifted" and glowing figures who have emerged from the environs and are now looking at her.

ROBERT (off-panel): They all could.

7 - Chris looks at Robert, mad.  Robert is defensive.

CHRIS: You can't seriously believe that, do you?

ROBERT: Well...

8 - Back on the street.  Evelyn and all the other figures are no longer there.

ROBERT (off-panel): I prefer it to assuming they're gone.

Next page.

Start from the beginning.

Doomcember - Shred - Page 6

1 - Chris stands on top of the apartment building - a brownstone maybe 5 or 6 stories high - looking down at the street below.  She smokes on another cigarette.  She wears the same warm clothing to protect her against the night's chill.

NO COPY

2 - Chris coughs into her free hand, a look of pain on her face.

CHRIS: hargk!  hargk!

3 - On Chris' hand, which is now covered in some blood / phlegm combo.

ROBERT (off-panel): Knock, knock.

4 - Robert comes out of the doorway, bandaged up after his earlier injuries.  Chris looks back, taking out a handkerchief to wipe off her hand.

CHRIS: All bandaged up, I see.

ROBERT: Those things'll kill you, you know.

5 - Chris looks back off the rooftop, down towards the street below.

CHRIS: The world we're living in...

6 - Street level.  The transformed Evelyn stands on the street, looking up.

CHRIS (off-panel): ...They'll have to get in line.

Next page.

Start from the beginning.

Doomcember - Shred - Page 5

1 - On Evelyn's blankets, which lay on the ground in a pile, fresh blood staining parts of them.

ROBERT (tailless): Argh!

2 - Evelyn, despite the handicap of being dead, stands menacingly in the entranceway, Chris and a few others trying to form a circle around her.  Chris crouches slightly, ready to spring into action.  Important to note that Evelyn's eyes are white as ever, now giving off an eerie glow, and the otherworldly green and orange is starting to appear all over her  body.  If it fits, Robert should be down on his knees, holding a bleeding wound, one of the others attending to him, but this is not integral to the scene.

CHRIS: Evelyn!  Stop this!

3 - Evelyn slashes at the doorkeeper, drawing blood.

CHRIS (off-panel): No!

4 - Chris slams into Evelyn's back, forcing the smaller figure off of her feet and through the opening into the sidewalk / street.

NO COPY

5 - Evelyn lies on the ground as Chris slams the door shut.

SFX: SLAM!

6 - Evelyn and Chris stand on either side of the metal gate / fence, staring each other down.  Evelyn looks wild and angry, perhaps grabbing onto the fence to try to break through; Chris looks sad and defeated.

CHRIS (quietly): I'm sorry.

Next page.

Start from the beginning.

Doomcember - Shred - Page 4

1 - Chris stands in the empty waiting room, finishing a cigarette.

NO COPY

2 - Chris has dropped the finished cigarette and extinguishes it under her boot.

CHRIS: Alright...

3 - Chris, Robert, and a few others carry Evelyn's body down some stairs.  Evelyn's body is mostly wrapped in the blankets she was resting in, although her arm is visible.  Her skin appears to be glowing / starting to glow.  This isn't a focus, but it can be a minor emphasis in the relative darkness of the stairs.

CAPTION (CHRIS): We gotta get her outside.

ROBERT: Chris?

4 - On Evelyn's arm.  The skin is starting to glow an otherworldly green and orange.

ROBERT (tailless): ...Should she be changing so fast?

5 - A man sits on a stool next to a steel gate that is currently closed.  He looks up in surprise towards the stairwell where a shout emanates.  His surprise is of a level that he drops his book.

CHRIS (off-panel): Johnny!

6 - Close-up on Johnny pulling a chain up from his shirt, a key dangling on its end.

CHRIS (off-panel): Get that door open!

Next page.

Start from the beginning.

Doomcember - Shred - Page 3

1 - On Chris and Evelyn's clasped hands.

CHRIS (off-panel): Evelyn...

EVELYN: No, no, Chris.  It's fine.

2 - Chris brings in a second hand to hold Evelyn's hand.  The grouping of held hands is lower, closer to the bed.

EVELYN: I'm glad to have gotten some rest before I'll have to be up and moving again...

3 - Evelyn's hand lies on the bedside.  Chris' hands are not in frame.

NO COPY

4 - On the room at large, focused on Chris (as well as Robert in the background).  Chris sits, tears trickling down her cheeks, but without an expression on her face.  Robert looks over, recognizing what has occurred.

NO COPY

5 - Robert moves closer, some hesitation on his face.  Chris is annoyed.

ROBERT: ...I know everyone would like it if we could have one last goodbye.

CHRIS: We grieve beforehand for a reason.

ROBERT (1): I know, but...

ROBERT (2): It's Evelyn.

6 - Chris is up and walking towards the doorway.  Robert looks towards Evelyn's body.

CHRIS: Five minutes.

Next page.

Start from the beginning.

Doomcember - Shred - Page 2

1 - On Robert and Chris' feet as they walk the halls.  Unsurprisingly, the halls are as worn as everything else.

NO COPY

2 - Robert and Chris pass through a waiting room towards the door at the back.  Chris is still smoking.  The room is filled with people sitting, standing, lounging, and so forth.  They have similar expressions to Robert last page - sad, tired, resigned.  They wear warm clothing.

NO COPY

3 - Inside the room, focused on the door as Robert and Chris pass through.  Chris asks a question of Robert, to which he nods in response.

CHRIS: Everyone get a chance to pay their respects?

EVELYN (off-panel): Is that you, Chris?

4 - Chris approaches a bed where an elderly woman (Evelyn) lies.  Evelyn is covered with blankets, resting her head on a pillow (although she looks towards Chris).  Her face (or at least her eyes) should not be visible.  The room's layout is very much in the vibe of a hospital.

EVELYN: I'm glad you could be here before the end.

CHRIS: No need to talk that way, Evelyn.  We both know some people hang on longer than others.

EVELYN: I've hung on long enough.  It's my time.

5 - Chris sits next to the bed and holds one of Evelyn's hands.

NO COPY

6 - Similar to panel 5.  Chris maybe sheds some tears - at the very least, she's sad.

CHRIS: I don't know how we'll get on without you to lead us.

EVELYN: Oh, Chris.  Everything you've been doing these past weeks...

7 - On Evelyn's face.  Her eyes are white, completely lacking pupils.  She is worn and tired, but she still wears a certain amount of pride.  She smiles.

EVELYN: I can see that you're ready.

Next page.

Start from the beginning.

DOOMcember - Shred - Page 1

1 - Close-up of a zippo lighter in a woman's hand.  She tries to lit it, but only gets a spark.

SFX: skrtch

2 - The woman tries to light the zippo again, but doesn't even get a spark this time.

SFX: skrtch

3 - The woman tries a third time, getting the lighter to light up this time.

SFX: skrtch!

4 - The tip of a cigarette comes into view, its end lighting bright as the woman takes a long drag to catch the flame.

NO COPY

5 - Establishing shot of the woman, Chris, in a shabby apartment room.  Chris is a woman in her mid- to late-thirties who looks like she's seen better days.  She looks tired, sick, and generally worn down.  She coughs violently taking her cigarette from her mouth with one hand.  Her other hand holds an old photograph.  Chris sits on a threadbare couch, wrapped in a blanket, with a propane heater in front of her.  There's perhaps some candles or a lantern, but overall there is relatively little in the way of light.

CHRIS: hargk!  hargk!

6 - Close-up of the picture Chris is holding.  It is of her and her sister Mary in happier, better days.  The family resemblance is clear, although it's also evident that the two are separated by a few years.  They stand together on the edge of a lake - Mary is soaked, having clearly gone into the water in her clothing, while Chris remains dry.  The two smile together.

ROBERT (off-panel): Chris...

7 - Robert stands at the open doorway to Chris' room.  He is a younger man, looking a bit hardier for his youth, but he too looks somewhat tired and worn.  He looks sad.  Resigned.  Note, like Chris, he's wearing warmer clothing, despite the fact that they're both inside.

ROBERT: It's time.

Next page.

Noirvember - If on a Winter's Night - Page 30

1 - Outside.  Pitor and Joseph leave the bar, walking off into the night.  It has stopped snowing, but no clearing has yet been done.  The sidewalk is a carpet of untouched down (save for where the two have already stepped).

CAPTION (PIOTR): No...

2 - A street in the neighbourhood.  It's late enough that nothing's open, although some store lights remain on (as do the street lights).  Once again, the snow on the sidewalks is untouched.  There's perhaps some tracks on the street from cars that have passed, but there's no movement.

NO COPY

3 - Repeat the establishing shot of page 1, panel 1.  The river and bridge remain the focus.  There are still lights from buildings, cars, and signs, but perhaps less than there were before.  As in the other panels of the page, snow covers the world.

CAPTION (PIOTR): I won't.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 29

1 - Simon holds Amy, who smiles weakly.
LETTERING NOTE: Amy's word balloon should be wavy and / or straggly to reflect her weakened state.

AMY: So much... for Piotr's good mood...

2 - Amy's head lolls backwards as she passes.

NO COPY

3 - Simon looks up, furious.  Tears stream down his face as he still holds Amy's body.  Piotr is crouched in the foreground, collecting the money and the duffle bags (this action does not need to be clear on this panel).

SIMON: What's wrong with you?!  She didn't do anything!

PIOTR: Da, but you did.

4 - Piotr and Joseph stand, each holding a duffle bag.  They face away from Simon and Amy.

PIOTR: Good luck with mess.  And with explaining to militsiya.

SIMON: You'll pay for this!

5 - Piotr stops at the door, turning back to look at Simon.  A look of sadness is on Piotr's face.

SIMON (off-panel): You'll fucking pay!

Onto page 30.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 28

1 - Close on Simon's still tightly shut eyes.

NO COPY

2 - His eyes open slightly.

NO COPY

3 - His eyes are looking down, surprised at what they see.

NO COPY

4 - Pull back to reveal Simon looking down at his completely unhurt self.  He can't quite process what he's seeing.

AMY (off-panel): Simon...

5 - On Amy, who has been shot in the stomach.  She bleeds freely, one hand on the wound and the other held up so she can look at all the blood covering it.  She is in shock.

NO COPY

6 - Amy loses consciousness, falling towards the floor.  Simon races over towards her.

SIMON: Amy!

Onto page 29.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 27

1 - On Piotr as he holds a gun similar to Winston's, drawn and aimed in Simon's direction.

NO COPY

2 - On Simon's face.  His eyes are tightly shut.  He grimaces.  Perhaps he turns his head slightly, as if turning away could help.  Maybe even a tear streaming down his face if that isn't too much.

NO COPY

3 - On Piotr's gun, the trigger being pulled.

SFX: clik!

4 - On Simon.  He flinches like crazy, putting up his arms in a useless act of self-defense.
LETTERING NOTE: I'd love it if there could be a big BLAM! covering pretty much the whole panel, with Simon standing in front of it, to illustrate the sound, violence, and so forth of the gun shot.

SFX: BLAM!

Onto page 28.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 26

1 - Close on Simon's eyes, narrowing in determination / anger.

NO COPY

2 - Close on the gun, specifically the trigger, as Simon pulls it back.  A small clik! emerges.

SFX: clik!

3 - On Simon and Piotr.  Simon looks very worried as he continues to pull the trigger to no result.  Piotr is also surprised, but he doesn't let it show too much.
LETTERING NOTE: Have the three clik!s stacked vertically, if you would.

SFX: clik!  clik!  clik!

4 - Simon turns the gun on its side and looks at it, as if seeing it for the first time.  Piotr looks impressed / surprised.

PIOTR: I am impressed you pulled trigger.

5 - Piotr reaches into his jacket, presumably grabbing his own weapon.

PIOTR: I am sorry for your sake it did not work.

Onto page 27.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 25

1 - Simon stands with the gun raise and pointed at Pitor and Joseph, both of whom have their hands up.  Simon should look awkward as heck - this is not a natural position for him.  Joseph is surprised, but Piotr's expression is neutral and patient.

SIMON: Amy, get over here.

2 - Amy comes around the bar and walks past Simon, tugging at his arm to continue with him.  He resists, remaining in the position of holding up Piotr and Joseph.

AMY: You're right, let's go.

SIMON: Not without the money.

3 - Amy and Simon get into an argument, causing Simon to turn his attention to look towards Amy.

AMY: What?  We need to leave!

SIMON: Pick. Up. The. Money.

PIOTR (off-panel): You should listen to Amaliya.

4 - Simon turns his attention back to Piotr, who has walked closer while Simon was looking elsewhere.  Simon straightens his arms and points the gun right at Piotr's chest.

SIMON: You should shut up and back off.  I'm the one with the gun.

5 - Piotr moves forward so the gun is touching his chest, looming tall over Simon's small and quivering figure.

PIOTR: Da.  But you are without guts to use it.

Onto page 26.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 24

1 - Joseph brandishes the brass knuckles menacingly.

JOSEPH: Still want to stand in our way?

2 - Close-up of Simon's hand drawing the gun he took off of Winston from the back of his pants (where they've been tucked all along).

SIMON (off-panel): No...

3 - Simon stands with both hands holding the drawn gun, aiming it at a surprised Joseph (or perhaps at the reader, with no other characters on-panel).

SIMON: I want to stop you cold.

Onto page 25.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 23

1 - Simon, still between Amy and Piotr and Joseph, puts out his arms in a stopping motion to try to slow or stop the pair's advance.

SIMON (1): Leave Amy out of this.  I was the one who wanted that money.  I didn't give a damn about your friend's well-being.

SIMON (2): Hell, Amy wanted to help him, for god's sake!

SIMON (3): So if you're punishing anyone, punish me.

SIMON (4): But let her go.

2 - Piotr and Joseph smile at each other.  There is no warmth in their grins.  Joseph reaches into his inner-coat pocket.

JOSEPH (1): That's some mighty fine sentiment there, friend.

JOSEPH (2): But this is not about punishment.

3 - Close-up as Joseph's fist, now adorned with a pair of brass knucks.

JOSEPH (tailless): ...It's about tying up loose ends.

Onto page 24.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 22

1 - Simon, still sitting at the table, tries to play it cool.  He's not doing well.

SIMON: N-now, I don't know what you're referring to--

AMY (off-panel): You knew.

2 - Amy at the bar.  She's still pouring the vodka, which is overflowing the glass at this point.  Her terror is mostly replaced by anger.

AMY: You knew all along.

SIMON (off-panel): Amy...

3 - Amy has bent down to grab the bag behind the bar.  Simon approaches the bar to try to get her to stop talking.

SIMON: Amy, calm down--

AMY (interrupting): Why would you put us through all this if you knew?

4 - Amy is back up and throws the duffle bag full of money towards Piotr and Joseph, anger still all over her face.  Simon flinches to get out of the way, although it's not going towards him.

AMY: Why?!

5 - The duffle bag falls short of Piotr and Joseph, spilling its contents all over the floor in front of them.  Piotr looks at it dismissively.

PIOTR: I told you...

6 - Piotr steps over the bag, moving towards Simon and Amy at the bar.  Joseph does likewise, perhaps cracking some knuckles to show how serious he is.

PIOTR (1): You are my favorite employee.

PIOTR (2): I had hoped to be wrong.

Onto page 23.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 21

1 - Joseph enters the bar.  He is significantly smaller than Piotr, with more of a runner's physique.  Like Pitor before him, he is covered in snow, but he's happy enough to see Piotr that he doesn't immediately clean it off.  He has one arm up in greeting, but the other remains at his side, off-panel.

JOSEPH: Piotr!

2 - Piotr is up and gives Joseph one of his big hugs.  Joseph returns it.

PIOTR (1): So good to see you!

PIOTR (2): I was worried you might not be making it.

3 - Piotr turns to introduce Joseph to Amy and Simon.

PIOTR (1): Amalyia, Semyon, this is Joseph.

PIOTR (2): I believe you have met already our other colleague Winston.

4 - At Joseph's feet is a duffle bag, identical to Winston's.  Simon and Amy are visible to either side in the background, looks of shock and horror on their faces.

PIOTR (off-panel): He had similar bag.

Onto page 22.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 20

1 - Amy tugs at Piotr's arm to try to placate him.  As Piotr is significantly taller than Amy, focus on Amy's face and Piotr's huge arm, with Piotr's face off-panel.

AMY: Come on, Piotr, I'll make your favorite.

2 - On Piotr's face, still glaring angerly.

NO COPY

3 - Piotr turns to look at Amy, his expression softening.  Amy looks back in relief.

PIOTR: Okay.

4 - Piotr sits down as Amy walks off towards the bar.  Simon looks relieved.

SIMON: ...So, if you don't mind me asking, what brings you by so late?

PIOTR: Me?  Am meeting couple of friends after a job.

5 - On Amy at the bar, pouring some vodka into a glass.  She looks up to see a figure outside the door, knocking.

AMY: Looks like we have one now.

SFX: bang! bang!

Onto page 21.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 19

1- Close-up on a number of empty glasses on a table, focusing on Piotr's current glass (half-empty) and his large hands around it.

PIOTR (off-panel): ...not make habit of it.  You are lucky you are my favorite employee.

2 - On Piotr, Amy, and Simon sitting at one of the bar's tables, drinking.  Piotr is in the process of knocking the rest of his drink back, Amy has had a few herself, and Simon is once again nursing a brew.  Piotr looks to be in high spirits, Amy is relaxed, and Simon is on edge, glancing towards the bar.

AMY: I'm your only employee, Piotr.

PIOTR: That too.

3 - Finish, Piotr slams down his drink.  Simon reacts strongly to Piotr's declaration, a look of terror on his face.

PIOTR (1): Done.

PIOTR (2): I will get more from bar.

SIMON: No!  You can't go there!

4 - Piotr stands up and stares daggers at Simon, looming over the terrified young man.  Amy immediately sobers up a few degrees, realizing things are going south.

PIOTR: Amaliya, did Semyen tell me what I can and cannot do in my bar?

5 - Amy gets up and tries to calm Piotr, a worried look on her face.  Piotr continues to stare at Simon, albeit maybe slightly less intensely.

AMY: No, no, Piotr.  He's just saying you wouldn't want to go there right now.

6 - On the floor behind the bar, focused on Winston's slumped body and the duffle bag full of cash (with perhaps a few packs that have fallen out laying around).

AMY (off-panel): ...we made a bit of a mess earlier and haven't cleaned it up yet.

Onto page 20.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 18

1 - Piotr stands inside the bar, shaking the snow off of his hat and general person.  Piotr is a big Russian guy - bald with a big bushy beard.  Maybe like a serious Zangief from Street Fighter-vibe, should such a thing be possible.

PIOTR: Amaliya!  What is hold up?

2 - Amy stands in front of Piotr, looking kind of awkward.  Simon approaches from the bar (where the duffle bag is no longer visible), looking equally ill at ease.

AMY (1): Uh, sorry, Piotr.  Simon and I have been...

AMY (2): um...

3 - Back on Piotr, who is absolutely beaming.

PIOTR (1): Oh, ho!

PIOTR (2): Were you making the hanky of the panky?

4 - Amy and Simon, now standing next to each other, look at one other, both of them pretty darn surprised and awkward about it.

NO COPY

5 - Amy and Simon kind of put their arms around each other, looking like a really uncomfortable couple.

SIMON: Uh... yeah?

AMY: H-how did you guess?

6 - Piotr swoops in and bear hugs the two, a big smile on his face.

PIOTR (1): Amaliya!  Why did you not tell me you and Semyon were couple?

PIOTR (2): This must be celebrated!

Onto page 19.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 17

1 - Back inside the bar, focused on the front door.  While the blinds are down, a figure is clearly visible on the other side, knocking on the glass.  Amy and Simon look on from the bar area.

SFX: bang!  bang!

PIOTR (from outside): Open door, Amaliya!

AMY: Shit.  It's Piotr.

2 - Amy walks towards the door, while Simon grabs her arm to stop her.

SIMON: You're not letting him in, are you?

AMY: It's his bar, Simon.  He has keys.

3 - Amy loosens Simon's grip and moves forward, determined.  Simon looks worried.

SIMON: What's our plan here?

AMY: We hope he's in a good mood.

4 - Close on Amy's hand unlocking the deadbolt.

AMY (off-panel): ...and that he doesn't stay long.

Onto page 18.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 16

1 - Amy stands outside the backdoor of that familiar alley.  She is smoking.  While still dented, the garbage can now sits next to the door, upright and with the garbage bag inside of it (instead of splayed across the ground as they had been previously).

NO COPY

2 - Close on Amy as she finishes the cigarette / flicks it away.

NO COPY

3 - Amy looks directly at the garbage can, a look of puzzlement as she registers its different position from where she last left it.

NO COPY

4 - Similar to panel 3, but Amy looks back towards the door as Simon calls for her, distracted from her garbage-related thoughts.

SIMON (from within) (1): Amy?

SIMON (from within) (2): Things may be getting worse in here!

Onto page 17.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 15

1 - We're back at the bar, set up like we were on page 4, except Amy is sitting and drinking while Simon is behind the bar.  Amy has a mostly done drink in her hand and a few empty drinks next to that.  Simon looks uncomfortable.  He also has a drink, but it is untouched.  The duffle bag remains on the bartop.

NO COPY

2 - Close on the bar top.  Simon's hand reaches for Amy's.

SIMON (off-panel): Aims...

3 - Amy pulls back her hand and points the other accusingly towards Simon.

AMY: Don't.

4 - Amy is furious; Simon is penitent.  Neither says a word.

NO COPY

5 - Amy gets off the bar stool and walks towards the back.

AMY: You know what?  I need a smoke.

6 - Back on Simon, who looks ashamed as heck.

AMY (off-panel): Try not to make things any worse while I'm outside.

Onto page 16.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 14

1 - Back inside the bar, Simon and Amy stand behind the bar itself, looking at something on the ground in front of them (not visible due to the bar, of course).  The duffle bag of money remains on the bartop.

SIMON: So...

2 - Switch to an over the shoulder shot between Simon and Amy, looking downwards at Winston's body.  It's slumped on the ground in a pseudo-sitting position.  Winston's body is beatup as heck; it's in a mighty bad way.

SIMON: What do we do now?

Onto page 15.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 13

1 - Simon and Amy both look at Winston's body, a certain amount of dread in their eyes.

NO COPY

2 - Simon and Amy awkwardly drag Winston's body towards the bar's door.

NO COPY

3 - The three figures are gone inside, leaving the garbage can, garbage bag, and Winston's gun lying in the snow.  The bar's door remains open.

NO COPY

4 - Simon peaks outside, looking at the things lying in the snow.

NO COPY

5 - The bar's door is closed.  The garbage can and garbage bag are remain where they were, but Winston's gun is gone.  Snow continues to fall.

NO COPY

Onto page 14.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 12

1 - Pull back to focus on the entire scene.  Simon is still on the ground, Winston splayed partly next to and partly on top of him.  Amy stands next to the play, holding the (now very badly dented) garbage can.

NO COPY

2 - Amy drops the garbage can, stunned.  Simon pushes Winston's body off of him.

NO COPY

3 - Amy sits down in the snow.  Simon moves over to put his arm around her shoulders, attempting to comfort her.  Winston lies facedown in the snow, unmoving.

NO COPY

Onto page 13.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 11

1 - Winston is on top of a prone Simon, punching and beating the heck out of him.  Simon has his arms up to try to protect himself, but it's not helping too much.

WINSTON: Where's the bag?

2 - Insert panel of a hand on a gun.

NO COPY

3 - Winston is still on top of Simon, but he now has a gun under Simon's chin.  Simon is freaking out, his nose bleeding and his lip cut.

WINSTON: Where is it?!

4 - The garbage can is brought down hard on Winston's head - his face goes blank the object lands with such force.  Maybe the background is red or faded out a bit to emphasize this moment.

WINSTON: Where--!

Onto page 12.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 10

1 - Back outside in the alley, focused on the spot where Winston's body has been - except the body's not there.  Snow's still falling, but something of an imprint of where he was is still visible, along with a pool of blood, and perhaps the dented garbage can and forgotten garbage bag.

NO COPY

2 - Simon and Amy are standing at the backdoor from the bar, looking in confusion towards the empty space.

NO COPY

3 - Winston charges from the opposite direction, spearing Simon with a brutal tackle (possibly taking Simon off his feet).  Simon does not see it coming at all and is crumpled.  Amy flips out in the background.

WINSTON: ARRGH!

Onto page 11.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 9

1 - Simon puts his hands up and motions to Amy to slow down, trying to rein the situation in (and keep alive the possibility of hanging onto the bag of money longer).

SIMON (1): Whoa!  Let's not go crazy.

SIMON (2): Why don't we go see how that dude's doing first.

2 - Amy pushes Simon's hands away, angry and frustrated with him.

AMY: You said he was dead!

3 - Simon flinches back, trying to defend himself, both physically and with his words.

SIMON (1): I found a bag full of money attached to a guy's arm.

SIMON (2): Excuse me for freaking out and not checking for a pulse.

4 - Amy stares down Simon, anger seething in her eyes.  Simon cowers.

NO COPY

5- Amy grabs Simon's wrist and starts walking with him towards the back, not waiting for his reaction.

AMY: Come on.

Onto page 10.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 8

1 - On the inside of the bar's front door as Amy locks the deadbolt with one hand and latches the chain lock with the other.

NO COPY

2 - On the neon Open sign, which Amy turns off.

NO COPY

3 - On the bar's window as Amy lowers the blinds.

NO COPY

4 - Amy slams back a drink as Simon looks on with some concern.

NO COPY

5 - Amy looks with incredulity at the duffle bag full of cash sitting on the bar top, her drained glass next to it.

AMY: We gotta call the cops.

Onto page 9.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 7

1 - Simon is crouched on one knee, holding the stack of twenties.  Beyond it, he sees the duffle bag, partially covered in fallen snow.

NO COPY

2 - Simon unzips the duffle bag to see that it is filled with stacks of twenties.  He cannot believe what he's seeing.

NO COPY

3 - Simon makes to stand up and walk away with the duffle bag, but it catches on Winston's arm, stopping him short and causing him to fall over.

NO COPY

4 - Simon sits on his butt in the snow, looking in stunned silence at the duffle bag and Winston's body.  Some of the money has spilled out of the bag, but Simon isn't really registering that at the moment.

NO COPY

Onto page 8.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 6

1 - Simon stands outside of the doorway of the alley behind the bar holding a garbage bag.  This is an alley that we've seen before.  Simon looks cold and unhappy.  The snow continues to fall in the night.

NO COPY

2 - Simon looks with frustration at the dented and knocked over garbage can, which is covered in a good deal of snow.

NO COPY

3 - Simon has put down the garbage bag and is picking up the garbage can.  His frustration is gone, replaced by curiosity at something that has caught his attention off-panel.

NO COPY

4 - Focus on a stack of twenty dollar bills laying in the snow.  It's partially covered by the downfall, but is still clearly visible.

NO COPY

Onto page 7.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 5

1 - Amy prepares some Old Fashions in a mixing glass, pouring out some rye to begin.  She concentrates on her work.

AMY: Besides, you know Piotr is not exactly the forgiving type.

2 - As Amy shakes in some bitters, Simon dismisses her concerns pretty handily.

SIMON (1): Yeah, yeah.  The guy who used to work here tried to pull a fast one and Piotr fired his ass so quick you never saw him again.

SIMON (2): I know the story, Aims.

3 - Amy pours out the mixing glass into two tumblers.  Simon gestures towards the empty bar.

SIMON: For such a hardass, he doesn't seem to mind that his bar is always empty.

AMY: That's his prerogative as the man with the money.

4 - Simon reaches for one of the drinks (all garnished and so forth).  Amy puts out a hand to stop him, smirking once again.

AMY: And as the man without, I think it's only fair you earn your keep.

5 - Simon returns the playful look, crossing his arms.

SIMON: What would you have in mind?

Onto page 6.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 4

1 - Tight on Simon, a man in his late-20s / early 30s who is a hipster / punk mix, leaning a bit more to punk (and a tad grungy at that).  He's got some gauges, other piercings, messy hair, maybe a questionable beard, and probably some tattoos, but you might not be able to see them depending on his clothes.  He looks pretty shifty.

SIMON: All I'm saying is we could split the till.

2 - Now tight on Amy.  She's similar age range as Simon, but she is pure hip.  She's got that undercut / longer hair combo that's all the rage, pierced lip, trendy clothes, and the like.  She looks unimpressed.

AMY: And all I'm saying is that you make that suggestion every night.

3 - Simon and Amy both in view, revealing that they are in a bar that is completely empty (except for them, of course).  Amy is bartending, while Simon sits at the counter.  Amy has the empty till open, emphasizing her point.  Small detail, but both their drinks are empty (or near it).

AMY: And half of zero is still nothing.

4 - Close on the two of them.  Some banter between the two, Amy mock accusing and Simon mock defensive.

AMY: ...Unless you want to start paying for your drinks.

SIMON: Do I look like I've found any work?

5 - Smirking, Amy turns to get some supplies to prepare another round of drinks.

AMY: You certainly don't look like you've been looking.

Onto page 5.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 3

1 - Winston stumbles along the alley, leaning heavily against the wall and continuing the hold his hand against his side.

WINSTON (quiet, woozy): Splitting up was a bad idea...

2 - Winston trips over a garbage can or two, falling to the ground.  A doorway in the alley stands behind the can and his prone form (something that will be relevant later).

NO COPY

3 - Winston lies on the ground, not looking good.  The duffle bag lies near him, still wrapped in one of his arms.  The garbage cans lie next to that.  The snow continues to fall in the night.

NO COPY

Onto page 4.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 2

1 - Continuing his walk, Winston bumps into a couple passing by him in the other direction.

NO COPY

2 - The man of the couple turns and yells after Winston.  Winston walks on, ignoring the cries and looking down at his hand.

MAN: Hey!

3 - On Winston's hand, which is slick with blood.

MAN (off-panel): What's the rush, buddy?

4 - Winston's stumbling more than ever and turns into an alley.

NO COPY

Onto page 3.

Start from the beginning.

Noirvember - If on a Winter's Night - Page 1

1 - Establishing shot.  We're looking at a city at night in winter.  A river runs through the city, taking up a good portion of the panel's real estate (maybe we got a bridge spanning it).  Lights from buildings, cars, and sign blaze against the darkness.  It's snowing.

NO COPY

2 - A man, Winston, walks across the bridge, a duffle bag on his shoulder and a hand held to his side.  No other pedestrians are around.  There's maybe a car or two, but they obviously drive on without stopping.

NO COPY

3 - Winston reaches the edge of the bridge, slouching against a streetlamp pole as he waits for the light to change to cross the intersection.  His hand remains on his side.

NO COPY

4 - Winston walks along the sidewalk in a small neighbourhood.  We're definitely not downtown, but there are a lot of storefronts at street level - often with apartments and the like above.  We're late enough in the evening that there's only a few businesses open and not too many people are out and about.  His hand remains on his side.

NO COPY

Onto page 2

Inktober - Page 22

1 - A close-up of the door's bell ringing as the door opens.

SFX: bada-ling!

2 - A much younger Darren walks into the shop.  Not only is he noticeably younger, he also has none of the robotic / cybernetic modifications seen in the present timeline.

NO COPY

3 - This younger Darren goes up to the counter and speaks to the elderly couple.

DARREN: Excuse me...

4 - Return to the table where the clock sat.  The table is bare, as both the clock and Sarah have disappeared.  All the remains is a few motes of purple glittering where they formerly were.

DARREN (off-panel): I've been seeing this amazing girl and she has a birthday coming up...

InkTober - Page 21

1 - We're in a different store.  Much smaller.  Maybe a mixture of a bookstore / new age-y magic store (in a world where magic is real, of course).  An elderly couple are looking at a book or something at the cash (in the background).

NO COPY

2 - Similar panel.  Sarah appears, surrounded by a similar haze of purple glimmer.  She looks stunned.  The elderly couple don't seem to notice her arrival.

SARAH: -- nothing!

ELDERLY WOMAN (quietly in background): Did you hear something?

3 - Sarah looks around, kind of confused.

SARAH: What am I doing--

4 - The same clock that Sarah is holding sits on one of the tables.  It sits in the foreground, with Sarah looking over and seeing it for the first time in the background.  She is, of course, holding the clock's exact twin.

SARAH: --here?

5 - Sarah approaches the clock, an idea forming in her mind.

SARAH (quietly): It reminded me of you...

InkTober - Page 20

1 - Sarah uses her purple flames to act as a little rocket boost to launch herself away as the shadowy tentacles slams into the ground where she was standing moments before.

SARAH: Augh!

SFX: SLAM!

2 -  Sarah lands in a heap amongst all manner of broken shelves and pawn-porium knick-knacks.  She looks triumphantly at the clock, which is demarcated with an inset panel.

SARAH: ow.

3 - Inset panel of the clock.

SARAH: !

4 - Sarah crouches down and picks up the clock, holding her necklace with her other hand.  Her necklace glows a deep purple, which seems to be glittering along her person.

SARAH: Here goes--

5 - Sarah and the clock disappear, leaving a few motes of purple glittering where they were moments ago.

NO COPY

InkTober - Page 19

1 - Inset panel.  The tentacle wraps around Darren's leg in a tight grip.

SARAH (off-panel): Darren!

2 - Darren hangs helplessly upside down, his sword and laser gun lost / falling from his hands.  Sarah throws some fire at the shadows, but it doesn't seem to do much.

DARREN: It's too late.  You can't save me now.

3 - The tentacles are closing in on Darren, bringing him to one of the toothy maws.

DARREN (1): But you might be able to save me then!

DARREN (2): The clock, Sarah!

4 - Close-up of Sarah closing her eyes / covering her face.  Maybe some tears welling.

DARREN (off-panel): The cl--!

InkTober - Page 18

1 - A huge dark tentacle slams down into the table between Sarah and Darren, causing all kinds of damage.  The two jump away in opposite directions.

SFX: ker-SMASH!

2 - Sarah throws off some purple fire at a nearby monster / maw.

SARAH: What keeps these things down?

SFX: fwoosh!

3 - The two remaining mecha-minotaurs are not doing particularly well.  One is being crushed / squeezed to death by tentacles, while the other is being torn apart by some monsters.  It doesn't look good for them.

NO COPY

4 - Darren chops off a tentacle with the sword and fires off the laser gun with his other hand.  It looks pretty impressive.  Unfortunately, a tentacle is coming from behind him, angling towards his legs.

DARREN: If I had an answer to that question, I wouldn't have so many eggs in the time travel basket!

InkTober - Page 17

1 - Darren draws the sword from its scabbard.  Sarah flicks at her necklace (which is somewhere between black and purple).  Perhaps shadowy smoke / tentacles are approaching the scene.

DARREN (1): My sincerest apologies, Sarah.  I was searching for dimensions where I did better.

DARREN (2): But all I found were ones where I did worse.

2 - Darren holds the sword with one hand, drawing his laser gun with the other.  Sarah has her necklace glowing purple again and starts moving her hands to summon some magic flames.  The surrounding darkness seems deeper than before.

DARREN: My methodology was brute force-based.  I endeavoured to close any fissures I would have left behind.

3 - Darren, Sarah, and the mecha-minotaurs stand in defence against the coming darkness.  A combination of tentacles, toothy maws, and monstrous shadows approach, both near and far.  What's left of Toro's body is being bandied about / devoured by various parts of the monsters.  Greg is diving into the floor to hide.

DARREN: ...it's possible I missed a few.

SARAH: I'm thinking maybe.

InkTober - Page 16

1 - Darren lays down an info-dump.  Let's say that he's trying to play it cool and act like this isn't a big deal - maybe moving to another area to search for the clock.  At the very least, he's probably not making eye contact with Sarah.

DARREN (1): I believe its thaumaturgic properties could prove beneficial to my needs.

DARREN (2): You may recall how temporal events would occasionally be torpid or languid when in immediate proximity to the clock.

DARREN (3): If my calculations are correct, the application of a sufficient amount of energy should enable it to circumvent the limits of chronology entirely.

2 - Darren pauses, absentmindedly looking at a sword on the table.  Sarah puts together the pieces and is rather surprised.

SARAH (1): Wait.

SARAH (2): You want to turn my clock into a time machine?

3 - Sarah's necklace goes from purple to black.  She and Darren look at her necklace, fear creeping into their expressions.

SARAH: What have you done, Darren?

4 - A scream from off-panel grabs everyone's attention.  Darren picks up the sword.

OFF-PANEL: ARGGGHH!

InkTober - Page 15

1 - The group stands in another alley of shelves, along with some tables in between.  As before, there are all kinds of trinkets, objects, and the like littering them - a veritable cornucopia of knick knacks.  Sarah stops, her necklace floating in front of her.  Greg speaks up, causing Darren to look his way.

SARAH: Okay, it's somewhere nearby.

GREG: Did you know that darkness not only obscures details but also makes it harder to judge depth and distance?

DARREN: I see that you haven't changed, Greg.

2 - On Darren as he looks towards one of the mecha-minotaurs and gives an order.

DARREN (1): But you raise a good point.

DARREN (2): Toro, go see if you can't turn on the lights.

3 - The group searches among the bookshelves, tables, and the like.

NO COPY

4 - Sarah and Darren are looking at the same bookshelf, side by side.  They look at the shelves and not at each other.

DARREN (1): Sarah.

DARREN (2): Why did you get rid of the clock?

SARAH: Because it reminds me of you.

5 - Repeat panel.  Darren looks at Sarah, pained.

DARREN: Then why do you want it back?

6 - Repeat panel.  Sarah looks at Darren, meeting his gaze.  She looks sad.

SARAH: Why do you?

InkTober - Page 14

1 - Sarah sits cross-legged in some sort of meditation / ritual, purple energy radiating from her.  It could potentially be the type of thing where her hair, clothing, and so forth floats upwards, either because gravity is lessened or the power pushes everything away from her.  Either way, she's doing that while everyone else just kind of watches, awash in the purple glow.

CAPTION (SARAH): ...we both know that's not how that works.

2 - On Sarah's necklace.  It glows bright purple again.

SARAH (off-panel): Alright, I'm recharged.

3 - Darren tries to get Sarah's attention, but she shrugs him off and walks on.

DARREN: I'm sorry about the Seer crack--

SARAH (interrupting): Let's go find a clock.

4 - Darren scratches the back of his head with one hand, looking sadly and awkwardly at the ground.  The mecha-minotaurs try to act like they haven't noticed how awkward this is.

DARREN: ...

5 - Maybe from above.  Sarah walks on, her necklace floating out in front of her as if pointing in a direction.  Darren and the rest start to follow her, walking slightly behind.

NO COPY

InkTober - Page 13

1 - Darren looks at Sarah inquisitively, while the mecha-minotaurs continue to hold her.  Sarah looks back at Darren, confused.

DARREN: Now.  Where's the clock?

SARAH: ...what?

DARREN: You mean you haven't found it yet?

2 - Close-up of Sarah.  She is a mixture of mad and embarrassed.

DARREN (off-panel): No wonder they stopped calling you the Seer.

3 - Darren turns away and gestures at the mecha-minotaurs in a dismissive fashion.  They let go of Sarah, who rubs her arms to get some of the feeling back into them.

DARREN: No matter.  If you could do a little incantation or whatever to bring it here, that would be great.

SARAH: Darren...

InkTober - Page 12

1 - Sarah marches towards the three hooded figures (who have arrived in the main room of the Pawn-Porium).  The central figure reaches out towards Sarah.

HOODED FIGURE / DARREN: Sarah--

2 - Sarah slaps the heck out of the central hooded figure, taking his hood off in the process.

SFX: smack!

HOODED FIGURE / DARREN: Ow!

3 - Darren, the hooded figure that Sarah just hit, pauses to hold his face (which is possibly red from the impact).  Without his hood, it's possible to see that he is cyborg-ish with metal parts grafted onto his face in a way not unlike the mecha-minotaurs (although it's made to be seen).  One of his hands might also be robotic - who's to say.

SARAH: What?

4 - Darren looks up - again, his cyborg nature more and more apparent (let's say one eye glows red) - he's mad, although trying to stay calm about it.  Sarah is hopping mad and doesn't care who knows.

DARREN: I understand that you're upset.

5 - The mecha-minotaurs come back into the scene, grabbing and restraining Sarah from behind.  She struggles, but it will do no good.

DARREN: ...but you're hardly in a position to dictate terms.

InkTober - Page 11

1 - The minotaurs stand tall, looming over Sarah, who is still on her ass from the fall.  Those aforementioned metal portions

SARAH: Oh, come on!

2 - Sarah is getting up and shouting.  The mecha-minotaurs are startled by her lack of fear / paying them attention.

SARAH: Not cool, Darren!

3 - Sarah is up and walking away from the mecha-minotaurs (who are exchanging looks of confusion) and back into the Pawn-Porium.

SARAH: Pretty sure we agreed to give each other some space!

InkTober - Page 10

1 - Back in the main room, Sarah is retreating quickly, jumping down the steps she took to get to the balcony.

SARAH: Not here.

2 - Continuing her racing pace, Sarah leaps over a low table, possibly knocking a few objects off.

SARAH: Not now.

3 - Sarah is nearly at the door, running as quickly as ever.

SARAH: Not--

4 - Before Sarah can get any closer, the door and surrounding wall explodes inwards as the minotaurs from earlier smash them in.  The panel should be a mixture of debris and minotaur violence, but if you can get in the same glowing red eyes from page 4, that would be grand.  Also, if some of their skin is torn off and showing metallic parts beneath, that would be cool, but that's something we'll see more of in the coming pages.  In the face of this destruction, Sarah throws up her hands to protect herself and falls backwards.

SFX: ker-SMASH!

InkTober - Page 9

1 - The central hooded figure turns to the clockwork goat-men and puts his hands up in a placating manner.

HOODED FIGURE: You're right.

2 - The figure continues to hold up one hand, while reaching into his robes with the other.

HOODED FIGURE: Punishment is deserved.

3 - The figure draws a laser gun and blows the hell out of one of the goat-men - the gun's beam completely disintegrating its upper-half.

HOODED FIGURE: But I will be the one delivering it!

SFX: VZZT!

4 - The figure turns his attention to the balcony where Sarah and Greg have been.  At the same time, he aims (without looking) and destroys the second goat-man (the first is either falling over or has already fallen).

HOODED FIGURE: Sarah!

SFX: VZZT!

5 - Back on the balcony - similar panel to page 8, panel 5 - except Sarah and Greg are gone.

HOODED FIGURE (off-panel): I know you're here!

InkTober - Page 8

1 - Sarah has gone into a crouch and is hiding her eyes as if to hide.  Greg is straight up gone - although his ghost briefcase and its contents are still there.  That said, there's no one else visible in the panel - the shouting is coming from a different room (and is visible as such by the word balloon tail).

OFF-PANEL SHOUT: Yes, you!

2 - Sarah opens her eyes, realizing the voice isn't as near as it may have initially seemed.  Greg floats out from a wall / floor, his head visible as he peaks out from his hiding spot.  The shouting continues.

OFF-PANEL SHOUT: Stop what you're doing!

3 - Sarah moves quietly towards the doorway where the shouting is coming from.  Greg is busy picking up his things.

NO COPY

4 - In the next room of the Pawn-Porium.  The focus of the scene is a handful of cloaked figures who are being harangued by two huge clockwork goat-headed beings.  It does not look like a fair fight.  In the background, Sarah peaks over a balcony / doorway to look down on the scene.

GOAT CREATURE: Breaking and entering is a serious crime and you will be duly punished for your misdeeds!

5 - Sarah looks back at a nervous Greg (who has caught up after gathering his things).  Greg looks worried; Sarah sheepish / apologetic.

SARAH: Okay, maybe security has gotten a little better.

InkTober - Page 7

1 - From the perspective of a shelf of knick knacks.  Sarah and Greg can be seen through the holes she's made by removing objects (although a few remain on the shelf - like a jar of eyeballs, a music box, etc).  Sarah has her hand on an item on the shelf, while looking the object she holds in her other hand.  Greg floats slightly behind her, looking around nervously.

SARAH: Guess we're doing this the old fashioned way.

2 - Sarah's discarding items quickly, throwing them over her shoulder and onto the floor in her haste, her eyes focused on the task at hand.  Greg continues to look uncomfortable.

GREG: Breaking and entering is one of the most commonly committed - and most commonly prosecuted - crimes.

SARAH: Relax, Greg.  It's only a crime if someone catches us.

3 - Similar panel as 2, but Sarah has paused her throwing and her eyes are wide with shock and fear as someone yells from off-panel.  Greg is equally terrified, dropping his ghost briefcase and flinching in fear.

Lettering note: The shout's word balloon should take up a good portion of the panel to emphasize how loud it is.

OFF-PANEL SHOUT: Hey you!

InkTober - Page 6

1 - Close-up of the bell above the door ringing as the door closes behind it.

SFX: bada-ling!

SARAH (off-panel): God...

2 - Establishing shot of Pan's interior.  It's a huge room, with shelves and tables and storage space everywhere, and nearly every single surface looks to be piled with stuff.  Whether it's mementoes, knick knacks, more practical items, or whatever else you can think of, it's pretty much there.  Also worth noting would be that there's doorways and stairs all about leading to other parts of the store.  They don't have to all be on the panel, but the focus should be on how big the place is.  Serena and Greg are somewhat dwarfed by its size.

SARAH: Why can't Pan's be more of a Pawn-Mart?

3 - Sarah turns to Greg to ask him a question; Greg looks jazzed that she would even consider his opinion.

SARAH: What do you know about systems of organization?

GREG: Dewey Decimal or Library of Congress?

4 - Exasperated, Sarah walks away from Greg, not even bothering to look at him.  Greg wilts in disappointment.

SARAH: Never mind.

InkTober - Page 5

1 - Establishing shot of an enormous business establishment - Pan's Pawn-Porium.  It's about as tacky as it sounds, with a huge neon light sign that shines brightly in the night, along with plenty of smaller examples of gaudy, garish colouring all throughout (not unlike Honest Ed's).  Sarah and Greg stand at the entrance, looking up.

CAPTION (SARAH): "It's not far."

SARAH: It is tacky as hell though

2 - Close-up of Sarah's eyes, narrowing as they take in an unexpected detail.

SARAH (off-panel): Hmm.

3 - On the door to Pan's Pawn-Porium.  The handle's been broken right off and it hangs ajar, the darkness of the interior a contrast to the outside's brightness.

SARAH: Security ain't great either.

4 - Sarah is already past the door and heading inside.  Greg floats after her, looking somewhat apprehensive.

SARAH (1): *sigh*

SARAH (2): I was really hoping this job would be an easy one.

InkTober - Page 4

1 - Sarah crouches next to the minotaur who is trapped under the fallen lamp post.  The minotaur looks to be in some discomfort.

SARAH: So?

MINOTAUR: The clock is at Pan's.

2 - Sarah stands, clearly annoyed.  The minotaur might not be paying the most attention.

SARAH (1): Thank you!  Would it have been so hard to open with that?

SARAH (2): Did you really need to go through this convoluted and labyrinth--

3 - Sarah pauses, realizing why they might have had to do the circuitous route.  The minoatur has passed out.

SARAH (1): Oh.

SARAH (2): Right.

SFX (near minotaur): faint!

4 - Sarah motions for Greg to follow and the two head off.  The minotaur is still unconscious.  Perhaps move the frame closer in on the minotaur's unconscious face.

SARAH (potentially off-panel): Let's go, Greg.

5 - Close-up of the minotaur's face.  Its eyes are not only open, they glow electronic red.

NO COPY

InkTober - Page 3

1 - Sarah is tired, her hands on her knees to catch her breath.  Her necklace looks burnt out / broken from the effort.  Greg floats over with more factoids.

GREG: Did you know that cows actually only have a single stomach but that it's divided into four compartments?

SARAH (interrupting): Still not the time, Greg.

2 - Sarah looks behind her, a look of surprise on her face.

SARAH: Got one --

3 - The third minotaur charges onto frame, but Sarah leapfrogs over it.

SARAH: More!

4 - The minotaur smashes into a lamp post.

SFX: Klang!

5 - Sarah and Greg look on as the minotaur wobbles around dazed.  The lamp post is bent at a dangerous angle.

GREG: Or that they can't--

SARAH (interrupting): Greg.

6 - Sarah and Greg continue to look on; the lamp post falls on top of the minotaur.

SFX: ker-plong!

InkTober - Page 2

1 - Close on Sarah's face.  She's surprised as someone calls to her from off-panel.

GREG (off-panel): Sarah!

2 - Sarah, ready and in a crouching position, looks down the street where the ghost of a stereotypical 1950s businessman floats.  He's kinda blueish, maybe glowing a bit, and waving eagerly, as if seeing an old friend.  Sarah facepalms.  If there's space, maybe show the minotaurs coming through the window.

SARAH (quietly): Ugh, I do not need this right now.

GREG: Hi, Sarah!

3 - A minotaur jumps from the window sill and slams into the ground (kind of a full body splash) where Sarah was crouching.  Thankfully for her, she dives out of the way just in time.  Greg floats closer in the background.

GREG: Did you know there are anywhere between 1.3 and 1.5 billion cows in the world?

SARAH: Little busy, Greg.

4 - Over the shoulder shot of the two other minotaurs advancing on Sarah, who is shaking a pendant from her necklace as if it isn't working.  Perhaps have it starting to glow purple (or some colour) from the base up, as if turning on.

SARAH (quietly): Come on, come on!

SFX (from pendant): vzzt!

SARAH: Yes!

5 - Sarah throws a roundhouse kick that is augmented by the power of the pendant, sending a ripple of force outward, taking the minotaurs off their feet and sending them flying.  Both the pendant and the force glow a bright purple.

SFX: FWOOSH!

InkTober - Page 1

1 - On Sarah, our lead, who is in what appears to be a bar.  Talking to someone off-panel, she looks hopeful, if a little defensive.

SARAH: I don't suppose we could talk about this, could we?

2 - Outside the bar.  Sarah is flying through the window, presumably having been thrown by her interlocutor.

SFX: krrsh!

3 - Sarah lies on the sidewalk outside the bar.  She's cut and a little worse for wear, but she's in the midst of getting up.  The neon light of the sign shines down on her.  Through the window, we can see a trio of minotaurs moving towards the opening they've created with Sarah's body.

SARAH: This is such bull.