InkTober - Be It Resolved

1 - Establishing shot of a cottage in the woods on New Year's Eve.  It's snowing.  There are a half-dozen cars parked out front, all but one covered in the falling snow.  Dave walks towards the front door, although he's coming from the direction opposite of the parked cars (as if he's just walked from around the cottage's corner).

CAPTION (DAVE): You know those moments when you think "This is a future me problem"?

2 - Inside the cottage.  Dave stamps his feet as he takes off his jacket, wiping off the snow that's gathered on him as he comes in the front door.  His girlfriend Kate greets him with a kiss on the cheek, perhaps with a look of surprise at how cold his cheek is.  You don't need to see it on this panel, but they're at a gathering of friends, ready to celebrate the New Year.

CAPTION (DAVE): They always feel like such a good idea, but one way or another, it always blows up in your face.

DAVE: It's really coming down out there!

KATE: Gosh, you're so cold!

3 - Dave, Kate, and a good number of their 20-something year old friends are gathered around a TV, drinking, celebrating, and sharing kisses (as the case may be) to ring in the New Year.  Frame so they are facing the reader (and TV), with the cottage wall behind them.  There should be a window looking out into the night.

CAPTION (DAVE): Well, no more.

ALL: 3...2...1!

4 - Move closer to the window.  Some evidence of the revelry may still be evident, but the focus is the window itself.

CAPTION (DAVE): From now on, I'm going to deal with my problems as soon as they come up. I won't leave things to rot and fester anymore.

ALL (off-panel): Happy New Year!

5 - Move through the window to look outside.  A dead body lays in the snow behind the cottage, already being covered by the falling flakes.

CAPTION (DAVE): Yep.

6 - The body is now covered and all that can be seen is the freshly fallen down.

CAPTION (DAVE): This year's going to be different.

InkTober - City Lights

1 - Establishing shot of a city at night.  The skyscrapers and lights sparkle in the darkness, a literal beacon in the wilderness around it (probably a desert-scape beyond the city limits).  Frame the view so a road passes by and off-panel at the bottom left or right of the panel - our perspective is long outside the city limits.

CAPTION: Is there anything more amazing than a city at night?

2 - Repeat panel, but a car is driving down the road.  It's still in the distance, but it's obviously moving away from the city and towards the reader.

CAPTION: There's an almost supernatural beauty that is without equal.

3 - Repeat panel.  The car is nearly at panel's edge.  It's pulling off the road, kicking up some dust.

CAPTION: I've always loved it.

4 - Repeat panel.  The car's backdoor opens and a mook throws a battered and bruised gentleman out of the car.

MOOK: And stay out!

5 - Repeat panel.  The car is driving back towards the city.  The gentleman raises himself up on his elbows, looking morosely towards the city.

CAPTION: I just wish it loved me back.

InkTober - Sell Out

1 - On Rick, an old school punk rocker.  He's got a purple mohawk, dark shades, more piercings than you'd expect, rippled leather vest, plaid pants, suspenders, and a big ol' smile.  He walks with a swagger in a dank bar where a show's going on.

CAPTION (RICK): There's something special about a mosh pit.

2 - Rick's into the bar's mosh pit, going at it with all manner of similar attired folk.  It's wild but they're having a good time.

CAPTION (RICK): There's an energy you won't find anywhere else.

3 - A younger kid bails and is lying on the ground.  It looks like the pit's going on without noticing; he curls up a bit, instinctively trying to protect himself.

CAPTION (RICK): Everyone on the same wavelength.

4 - As the pit keeps moshing, Rick pauses and grabs the kid's forearm, pulling him back up to his feet.  The two exchange a smile - the kid of relief, Rick of something else.

CAPTION (RICK): When someone goes down, you help them up.

5 - Someone accidentally bumps into the kid from behind, knocking him into Rick.  Rick looks a little surprised; the kid looks absolutely shocked and pained.

CAPTION (RICK): But pits are still creatures of chaos.

6 - The kid is down again, doubled into himself.  This time around, the pit has stopped.  Nearby people are kneeling down to see if he's alright.  Rick is off and walking away from it all, his back to the reader.

CAPTION (RICK): Bad things can come from even the best of places.

7 - Close on Rick's upper-body.  He holds a bloody knife that he's wiping on his vest.

CAPTION (RICK): Not to mention the worst.

InkTober - Struggle

1 - Close on Kate's face.  Her eyes are wide with fear.  Her hand covers her mouth, as if in shock and horror.  The background details are not visible here.

NO COPY

2 - Pull out to show Kate is standing on an apartment building balcony.  She keeps the one hand covering her mouth in horror; the other holds onto the balcony railing, as if bracing herself.  It's not clear how high up she is, but she is alone.  The sliding door is open behind her.

NO COPY

3 - Kate holds the same position, but her expression shifts - she looks determined here, like she's come to a decision.

NO COPY

4 - Kate holds the look of determination, but lets go of the balcony railing and taps her lip pensively with the hand that was previously covering her mouth.

KATE: He fell.

5 - Kate has gone inside, leaving the balcony empty.  She is not visible.

KATE (from within): Hello, 911?

InkTober - Black

1 - Inside a Starbucks-esque coffee shop.  We're looking onto the cash from the side.  Two relatively well-dressed gentlemen, Jacob and Daryl, are getting their coffee - three cups in one of those holding trays.  The barista isn't visible (beyond their hands / arms offering the coffee) - maybe a coffee machine blocks them from view?  The focus is the two gentlemen, but maybe have them off-centre in the framing.  It probably wouldn't be obvious that it's night time, but maybe the shop's neon lights are particularly bright / harsh.

BARISTA: Here are your drinks.

JACOB: Thanks.

2 - Jacob and Daryl are walking out of the shop.  Jacob is holding the door fro Daryl; Daryl is holding the tray of coffee.  Jacob looks in concern at something off-panel; Daryl is focused on the coffee.

DARYL (1): God. That took forever.  I'll never understand people who go for that fancyass coffee stuff.  Black is all you need, you know?

DARYL (2): She better appreciate this peace offering.

JACOB: Daryl...

3 - Jacob and Daryl are standing next to the back seat of their car, looking down in disbelief.  What they're looking at is not yet visible.

JACOB: Remember when I said we should have used zip ties?

4 - Reverse angle to show what Jacob and Daryl are looking at.  The car's backseat window is broken (smashed outwards) and loose rope is splayed on the backseat.  Jacob and Daryl could frame the window, standing to either side, backs to the reader (or already looking for where the woman went?).

JACOB: We should have used zip ties.

InkTober - Overwhelming

1 - We're in a flooded town.  Night time.  The water might not be right up to house's second stories, but it's not that far off either.  In what would be the street, two men, Quentin and Nick float along in a boat that's filled with ill-gotten gains - laptops, maybe some TVs, some bags filled with jewelry or whatever.  Quentin rows, while Nick holds a flashlight to try to help direct their vessel.

QUENTIN: I still feel kinda bad about this.

NICK: Why?  There ain't no one around, Quent.

2 - Nick spreads his arms wide to indicate the neighbourhood ahead of them - maybe channel some Titanic in here.  That said, Nick makes a surprised face as someone yells from off-panel.  Quentin also looks over in surprise.

NICK: It's like a victim-less crime!  Everyone who's anyone got out way before things got ba--

VOICE (off-panel): Hey!

3 - A man stands on the rooftop of one of the neighbourhood's houses.  He looks scruffy and somewhat unkempt (as if he's been stranded there for a few days).  Nick, Quentin, and their boat are visible.  Quentin looks on, while Nick tries to get them focused back on looting.

MAN: Hey!  You two!  You gotta help me out!

NICK: Ignore it, man.

4 - Close on Quentin, who looks conflicted between not wanting to disappoint Nick and wanting to help out this man.

NICK (off-panel): Just ignore it.

MAN (off-panel): Help!  Please!

InkTober - Easy Peasy

1 - Close on bolt cutters ripping through a locked chain holding a chain link fence shut.  It's night time.

MICKIE (off-panel): Security's about as tight as you'd expect for paper.

2 - On Carson and Mickie as they walk towards the warehouse in the lot they've just broken into.  Carson gestures to the building in front of them.  The now open chain link fence could be in the background, if desired.

CARSON (1): Well, as far as the cops are concerned, this place is a big waste of space now that they've got everything up in the cloud.

CARSON (2): But once that cowboy were hired hacks their system into oblivion, the files in here will be the only ones they have.

3 - Carson and Mickie stop at the door to the warehouse.  Carson elbows the window (either in the door or next to it) open, breaking it.

CARSON: So all we gotta do is snag ours, and as far as the cops know, it'll be like we never existed.

SFX: krssh!

4 - From inside the warehouse, Carson reaches through the broken glass and opens the door from the inside.

CARSON: Believe you me, this is gonna to be a walk in the park.

5 - Carson and Mickie are now inside the warehouse.  Pull back to show that there are stacks and stacks of shelves, boxes, filling cabinets, and the like.  It's like that warehouse from Indiana Jones theres so much stuff.  Carson and Mickie are small in comparison to the wealth of things in there.

CARSON (quietly): A very large, very overwhelming park...

InkTober - Work It

1 - A top down view of a fit dude doing some bench prench in a gym.  Frame so the panel looks straight on at him, cutting him off a little above the waist, with some open space at the top for the weights and equipment.  He looks straight up at the ceiling, grimacing madly (which is also right towards the reader).  He holds the barbell high in the air.

WOMAN (off-panel): Um, excuse me...

2 - A woman comes into the top of the frame, looking down at the weightlifter.  She's also in exercise gear, hands on her hips, although we can only see the back of her head.  The weightlifter brings the barbell close to his chest, still grimacing at the ceiling.

WOMAN: I see you here every day working so hard.

3 - The woman puts a hand to her face coquettishly (is that doable if we're looking from behind?).  The man keeps pumping iron, bringing the barbell down to his chest on another rep, grimace never wavering.

WOMAN: And, well, I gotta ask...

4 - Flash forward to that evening.  We're in the same set shot of the weightlifter, but he's in street clothes - t-shirt, jacket, that kind of thing.  He also has sky above him (maybe a streetlight or something to help emphasize this), meaning the panel is looking up instead of down.  He wears the same grimace, but he has one hand and arm down off-panel and the other cocked back, ready to unleash a wicked haymaker.  The hand that's doling out the violence drips a bit of blood (and there might be some splatter on his t-shirt).

CAPTION (WOMAN): "What are you doing later?"

5 - Back to the gym shot.  The woman has her hands on her hips again.  The weightlifter keeps pumping away.

WOMAN (1): ...

WOMAN (2): Hello?

6 - Repeat that gym shot one last time.  The woman is eight walking away or already gone.  The weightlifter just pumps away.

WOMAN: Whatever, dude.

InkTober - Surprise

1 - Clay and Walker are standing on the back porch of a pretty nice looking house in the suburbs. It's night time. Clay wears a mask and gingerly looks at the pistol he's holding. Walker also holds a pistol, but has his mask up, trying to psyche Clay up, some irritation clear on his face.

CLAY: Are you sure about this?

WALKER: Don't worry! Mr. Kuplinskas is an old man. We'll give him a good scare, he'll give us the goods, and we'll be home in time for the Cosmo Voyage finale.

2 - Walker shoulders the backdoor open with a "crunch". His mask is now down.

WALKER: Seriously...

SFX: Krnch!

3 - Pull back to provide a more complete view of the house. No movement is visible.

CAPTION (WALKER): It'll be a piece of cake.

4 - Repeat the shot of the the house, but with a huge "BLAM!" sfx - perhaps around the outside of the house itself.

SFX: BLAM!

5 - Repeat once again, but now some house lights are on and Walker and Clay are running out from the back of the house. Walker is hoping the fence to the alley behind. Clay is still on his way, holding his side with one hand.

SFX: BLAM!BLAM!BLAM!

6 - Clay and Walker stand in an alleyway, catching their breath. They're both sweating, breathing heavy. Frame so the two are visible from the chest up.

WALKER: Okay, that could have gone better.

CLAY: Man, I really hope you PVRed Cosmo Voyage.

7 - On Clay as he removes his hand from his side, revealing that he's been shot and is bleeding from his gut. His hand is covered in blood. He looks in a bad way.

CLAY: ...'cuz I got a feeling I'm going to miss it.

InkTober - Mistakes

1 - Marco is robbing a bank, standing with a duffle of cash in one hand and a raised gun in another. He wears an aggressive expression and barks at someone off-panel.

CAPTION: Everyone makes mistakes.

2 - Marco is being arrested. A cop escorts him towards a cruiser. Marco is grim, a new wound bleeding from his forehead.

CAPTION: If we're lucky, we learn from them.

3 - Marco sits in a courtroom. He is mad.

CAPTION: We grow.

4 - Marco sits on a bed in a jail cell. He is expressionless.

CAPTION: It can take time.

5 - Marco sits in a prison counselling circle. He fights back tears as he speaks.

CAPTION: But we can see the errors of our ways.

6 - Marco stands with his civilian clothes in a pile. He's being released. He looks hopeful.

CAPTION: Become better people for it all.

7 - Marco is robbing another bank. While he's older and maybe wears slightly shabbier clothing, it's pretty much the same scene as panel 1.

NO COPY

8 - Marco is back in jail, sitting on a prison bed. He is once again expressionless.

CAPTION: If we're lucky.

InkTober - Accidents

1 - On an ambulance's rear view mirror.  Marv, the ambulance driver, looks into the mirror in concern.  His hand is holding the mirror as he adjusts it, obscuring part of it.  The mirror should take up the bulk of the panel, if not acting as the panel, going the width of the page.

MARV: How we doing back there?

2 - The ambulance interior.  Robert, another paramedic, is working above Lance, who is laid out in the gurney, covered in blood. Lance holds an arm to his chest, as if in pain.  Robert's hands and arms are covered in blood as he works to figure out what's happened.

ROBERT (1): Be a lot better when we get to the hospital.

ROBERT (2): Guy's lost a lot of blood.

LANCE (weakly): Don't worry...

3 - Lance moves his hand from his chest, having drawn a gun from inside his coat.  He aims it at Robert.  Robert freezes, surprised and terrified.  Marv looks back, equally surprised. 

LANCE: Most of it ain't mine.

MARV: What the--!

4 - The ambulance lurches widely to the side as it swerves towards the sidewalk.  It's night time and the back window is bright against the darkness outside.

SFX: pap! pap! pap!

5 - The ambulance crashes into a telephone pull with a lurch.  The light from the window is out.

SFX: KRRRSSSH!

6 - Lance has exited the crashed ambulance and is limping away into the night.  Part of Robert's body may be visible through the ambukance's open backdoor, but it isn't strictly necessary.

NO COPY

InkTober - Cold Shoulder

1 - Rodrigue is standing out in the winter cold.  He has a jacket that's maybe a little too light for the weather and a scarf to cover his lower face, but he's clearly miserable.  Hugging himself for warmth is not cutting it.  Behind him, some grand steps lead up to a fancy looking building - big glass windows and the like - but the interior is not visible.

NO COPY

2 - Rodrigue sees something off-panel that catches his eye.  He raises his hands in indignation, not any happier.

RODRIGUE: Jesus! Did you have to take so long?

3 - Chuck walks into the scene.  He's wearing a big puffy jacket, snow pants, a balaclava, and pretty much anything else you'd imagine to be warm in Antartica.  He is grossly overdressed.  He's also defensive at Rodrigue, who's only gotten more aggressive.

CHUCK: What? It's not even 1 o'clock?

RODRIGUE (1): We agreed on noon!

RODRIGUE (2): I've been standing out here like an asshole freezing my dick off!

CHUCK: Oh.

4 - Chuck puts one hand up in surrender, reaching into his coat with the other.  He is contrite.  Rodrigue is not wholly placated, but he seems willing to let it slide for the moment.  While he keeps one hand around himself in a futile effort to keep warm, he uses the other hand to reach for something under his jacket along his spine.

CHUCK: Alright, my bad. But could we please yell about this after?

RODRIGUE: Fine.

5 - Pull out to reveal that Rodrigue has been waiting outside "First National Bank".  The two men have drawn guns and are walking towards the entrance.

RODRIGUE: Let's do this.

InkTober - Over Easy

We're in a truckstop-esque diner after some gun violence has gone down.

1 - Establishing shot of said truckstop diner.  The sign reads "Earls".  The interior isn't really visible from this angle, but at least one of the windows is shattered.  One or two others might have bullet holes.

NO COPY

2 - On the stove in the kitchen.  Two or three pans are on the stove, the food burning (or well past burned).  There's some bullet holes about, and possibly a blood smear on the front of the stove, but the cook it belonged to is not visible.

NO COPY

3 - Shot of the counter with the cash register.  A waitress' legs are visible splayed beyond the counter's edge, although no more can be seen.  Bullet holes pock the wall and counter.

NO COPY

4 - A number of tables and chairs are overturned as dinners tried to get out.  They were seemingly unsuccessful, but again, the majority of their bodies are obstructed by the tables and chairs.  Bullet holes and some blood are once again visible.

NO COPY

5 - Mason sits at a booth, calmly eating his breakfast.  Dubois sits across from him, mouth agape in his surprise.  A submachine gun lies on the table between them.

DUBOIS: Remind me to never overcook your eggs.

InkTober - Good Boy

1 - Inset panel on two friends, Tracy and Josh.  They're in a dark room, looking at something off-panel that's giving them confused expressions, with fear possibly creeping in.

TRACY: Josh...

2 - Reverse angle for an over the shoulder shot.  Tracy and Josh are looking at a dark hallway, with red eyes glowing from the darkness malevolently.  Worth noting, while all the eyes belong to the same creature, there's 8 or so, like a giant, terrifying spider.

TRACY: What is that?

SFX: grrrrr...

3 - Outside, focused on a nondescript brick building.  Tracy and Josh are already out the front door, running as fast as they can off to the right.  Fear is fully plastered on their faces.

NO COPY

4 - Repeat panel, but Tracy and Josh are out of sight.  Nothing moves.

NO COPY

5 - Repeat panel, but the creature from panel 2 bursts through the wall of the brick building next to the door.  The thing is a massive dog that is taller than the doorway and decked out in all manner of cyborg parts and armour, including a "mask" on its face that glows with 8 red eyes.

SFX: BOOM!

6 - The giant cyber-dog chases after Tracy and Josh, going all out as it lets out an equally huge bark.

CYBER-DOG: WOOF! WOOF!

InkTober - Do Over

1 - We're in a futuristic mega-city.  There's skyscrapers everywhere and they're all huge.  Also some flying cars, holographic advertisements, and all that good stuff.  However, this is all background to our protagonist, Halley, who is a fast-talking ne'er-do-well, is currently plummeting down to earth, quickly passing by this jungle of buildings and technology on her one-way journey.  She's not looking great, but in her hand is a cylindrical device with a green light on the bottom and a button on top.  She's currently pressing that button and is being surrounded by green lights / rays that are the same colour as the green on the device.

HALLEY: AHHHH!

2 - This time Halley is in a flying car that is heading for a crash landing into the bay next to the city.   She's screaming in terror.  The rear of the car is on fire.  Once again, she's holding that cylindrical device and is surrounded by those green lights / rays.

NO COPY

3 - Halley is standing in a bar, all manner of lasers flying at her, fired by unseen foes.  She has her arms up in the air in a useless attempt to protect herself.  Cue the cylindrical device and green lights around her.

NO COPY

4 - A nondescript room.  A steel table sits in the foreground, some shelves in the back.  Green light / rays coalesce in the space in between the two.

NO COPY

5 - Repeat panel 4, but Halley has appeared, holding the same position as in panel 3, cylindrical device in hand.  She opens one eye experimentally to see where she is.

NO COPY

6 - Halley puts the cylindrical device on the table.  It projects a small holographic image of her holding the position from panel 3 and 5, as if the moment is frozen in time (the holographic is, of course, green).

HALLEY: Shit.

7 - Reveal panel.  Halley is in a large warehouse filled with tables.  Said tables are covered in loads of these cylindrical devices, each one projecting a different green holographic image above.  Halley stands at the back, dwarfed by this large room.

HALLEY: What do I keep doing wrong?

InkTober - Be True

1 - Night time.  Outside a drinking establishment of some variety.  Jackson smashes through the bar's window, flying out into the rainy street.

CAPTION (JACKSON): I've often heard say that people are their own worst enemy.

SFX: krssh!

2 - Jackson lies on the ground in considerable pain, eyes shut.  He has various cuts from the glass and bruises from the in-progress fight that sent him through it.  Maybe have some type of light on him (under a street light perhaps?)

JACKSON (weakly): ohh...

3 - Similar as panel 2, but a shadow falls over Jackson from someone standing at his feet and looming over him (but said person is not visible).

JACKSON (weakly): mercy...

4 - A hand from the looming figure reaches down and grabs Jackson by the hair / head and starts pulling him up.  The rest of the figure remains obscured.

OFF-PANEL FIGURE: Mercy?

5 - Reveal that the other figure is a man who looks identical to Jackson.  He might even be wearing the same clothing or something very similar (although it's in better condition than our initial Jackson, of course).  Other Jackson lifts initial Jackson over his head, ready to slam him into the ground.  Initial Jackson looks pretty out of it.

OTHER JACKSON: Speak for yourself.

CAPTION (JACKSON): But this seems a little much.

InkTober - Place Your Bets

Hank has gone through hell the last few hours.  He's finally made it to his intended destination: the casino.

1 - On Hank's feet as he walks through the casino.  He's missing a shoe and the revealed sock has a hole in the toe.  His other shoe is a quality wingtip, although it looks a little worse for wear.  His dress pants are dirtied - it's unclear if it's blood or mud.  There shouldn't be any other feet visible in this panel, although maybe some base of slot machines and chairs next to them, if desired.

NO COPY

2 - On Hank's face.  One eye is swollen shut.  He's covered in cuts and bruises, including an open cut from his lip.  In spite of all this, he wears a look of determination.

NO COPY

3 - Full-body shot of Hank from behind.  He's not wearing a jacket and his dress shirt has a sleeve that is mostly gone or clear ripped off (but still hanging at the base of his arm, if the latter).  His shirt is scuffed and pocked with blood, whether it's Hank's or someone else's is unclear.  He carries a duffel bag at his side, the strap over his shoulder (the one that is still sleeved).  The bag's contents should not be visible.  If there are other people on panel, they look in shock at this wreck of a man.

NO COPY

4 - Hank comes up to a roulette table and drops the duffel bag on top with a "whump!", that same determination from panel 2 on his face.  The people around the table all look shocked.  In spite of all the wear he's taken, his tie seems to be well in place and still tight to his neck.

SFX: whump!

5 - Top down shot, focusing on the duffel bag on one side, sitting on top of the roulette betting area, and the roulette wheel, spinning, on the other.  The bag's flap has slipped off, revealing the bag is filled with all manner of money, jewels, and other items of value.

HANK: All on red.

InkTober - Car Troubles

1 - Russ and Lexi sit in the front of a car, driving.  Lexi is at at the wheel; Russ in the passenger seat.  Both look kind of annoyed and / or perturbed at the sounds coming from their car.

SFX: whump! whump! whump!

2 - Repeat panel 1.  Russ turns to Lexi.

RUSS: Would you please do something about that?

3 - On the car's brake light, lit bright red to indicate the car is stopping.

LEXI (off-panel): Fine.

4 - The car is stopped.  Lexi stands at the back of the vehicle.  The trunk is open and Oscar, the man Lexi and Russ have bound and confined to the trunk is visible.  However, things are not going well for him, as Lexi slams a tire iron into his face.

SFX: smak!

5 - On the car peeling out from its temporary stop on the road's shoulder, the trunk once again closed.

NO COPY

6 - A panel similar to panels 1 and 2.  Lexi looks smug and satisfied.  Russ looks pleased.

LEXI: Better?

RUSS: Much.

InkTober - Backfire

1 - Janse is walking along the sidewalk in a rough looking part of town.  It's early evening.  There doesn't look to be anyone else about.  Janse has his eyes forward.

CAPTION (JANSE): People always say I have a good heart.

DALTON (off-panel, weakly): ugggh...

2 - Looking over Janse's shoulder as he looks into the alley next to him.  Dalton lies in a pile of garbage on the ground, looking as if he's been beaten up.

CAPTION (JANSE): That I'm trusting type.

DALTON (weakly): help... me--

3 - Janse has come into the alley and crouches near Dalton.  Janse has one hand behind his back.  Dalton is lying in a position where he has one hand near his body.

CAPTION JANSE): The kind of guy who goes out of his way to help others.

4 - Tight on Dalton's hand pulling a knife.

NO COPY

5 - Tight on Janse's hand pulling a gun.

NO COPY

6 - Janse crouches with a gun drawn and pointed at Dalton.  Dalton puts his arms up and drops the knife, the facade of being hurt replaced by fear.

JANSE: Drop it.

7 - Janse slams the butt of his gun across Dalton's face.

SFX: whump!

JANSE: Bitch.

8 - Janse walks out of the alley, throwing Dalton's wallet over his shoulder and pocketing the money that was within.

CAPTION (JANSE): Joke's on them.

InkTober - Good Samaritan

1 - Close on one of those up / down arrow signs above an elevator.  The red down arrow is light up.

SFX: ding!

2 - In the elevator, put arm up to hold door and look out based on someone yelling.  Said yelling person is a woman rounding the corner, running towards the elevator in a big hurry.  She's holding a bag, although it might not be visible in this panel.

WOMAN: Hold the elevator!

3 - The woman is now in the elevator and is pushing the close button repeatedly.  The man smiles at her rush.  They are framed by the elevator doors (which are probably starting to close).

MAN: You're in quite the rush--

4 - Reverse angle, now inside the elevator.  From this angle, it's clear that the woman has a pistol tucked into the back of her pants' waistband.  Also, if possible, show that her bag is stuffed / overflowing with hospital supplies.  Part of me is thinking stethoscopes, bandaids, and maybe needles, but I have to admit that pills would probably make a lot more sense (although something like morphine could fit the bill, too).  The man certainly notices the former and possibly the latter.  Either way, his smile fades.  She looks over, awkwardly realizing what's happened.

MAN (trailing off): ...aren't you.

5 - Still in the elevator, the two look at each other awkwardly.  The woman pulls down her shirt to better hide the gun.

NO COPY

6 - Repeat panel 5.

MAN: Did you just rob a hospital?

InkTober - Deadlines

1 - Kim, the owner of a convenience store, stands behind the cash register counter, horrified.  He nervously runs a hand through his hair, processing what he's just realized.  Jeff, a friend of Kim's stands on the other side of the counter, looking concerned but also a little annoyed, like this might not be the first time they've had this type of conversation.

KIM: Oh, Jesus.  I forgot to get the money together for Terence's pickup!

JEFF: So?  You've been paying on time for years!  Is it really that big of a deal if you're late once?

2 - Kim shrinks into himself a little, visibly disturbed at the suggestion of paying late.  Jeff is more glib; he's moved around behind the counter and slaps a friendly hand on Kim's shoulder.

KIM (quietly): I don't think Terence would appreciate that...

JEFF (1): Oh, come on!  He's big and scary, but he's not a monster!

JEFF (2): I'm sure he'll understand!

3 - Close on Jeff and Kim.  Jeff gives Kim a mockingly conspiratorial nudge, leaning in close as if to whisper a secret.

JEFF: Pobody's nerfect, right?

SFX: ding!

4 - Terence has now joined Kim and Jeff at the cash register counter.  Terence is big - tall, wide, and muscular, it's not a surprise why Kim is scared of the guy.  Jeff has come from behind the counter and acts as if he and Terence are old friends, putting a hand on his shoulder and the like as he talks.  Terence wears a neutral expression (although his neutral face may look kinda angry).

JEFF (1): Terry!

JEFF (2): So good to see you!

TERENCE (1): Money.

TERENCE (2): Where is it.

5 - Jeff is taken aback at how grossly his charm offensive is failing.  On the figurative (and perhaps literal) backfoot, Jeff suddenly looks a lot more nervous, running a hand through his hair as Kim did back in panel 2.  Terence's expression does not change.

JEFF: Well, it's a funny story real--

6 - Smash cut to Terence on top of the convenience store's roof, holding a very panicked Jeff over the edge with one arm (dude's strong enough where that isn't a big deal).  Jeff tries to get some purchase on Terence's arm to keep himself up, while looking down worriedly towards the street below.  Kim is in the background, trying to wrestle Terence back, to little avail.

TERENCE: Where's Pobody?

JEFF: I think you misunderstood...

InkTober - Albatross

1 - Malcolm McCoy and his boss are security guards at a museum.  They're in the monitor room, watching the feeds of the various cameras.  Malcolm is up and putting on his jacket, a cigarette behind his ear.  His boss looks over, annoyed.  Malcolm tries to hide his frustration.

BOSS: Where you going?

MALCOLM: Smoke.

BOSS: Be quick about it, McCoy.

CAPTION (MALCOLM): My boss is a dick.

2 - Malcolm stands outside one of the museum's rear doors, smoking.  It's nighttime in the middle of winter and Malcolm hugs his arms to try to eke out a bit more warmth.  Malcolm maintains the neutral expression.  The rear door remains open.

JENKINS (off-panel): Right on time.

CAPTION (MALCOLM): The hours suck.

3 - Jenkins and two thugs approach Malcolm.  The thugs walk past and head into the museum.  Jenkins pauses, slipping a wad of cash into Malcolm's front pocket with one hand and slapping him on the back with the other, a conspirational look on his face.  Malcolm remains neutral.

JENKINS: We good to go?

MALCOLM: Door's open, isn't it?

CAPTION (MALCOLM): Pay's worse.

4 - Jenkins walks past, drawing his gun that is tucked into the back of his pants' waistband.

JENKINS: That it is.

CAPTION (MALCOLM): This should be more than enough to take the cash and make myself scarce.

5 - Wide angle on Malcolm standing outside, hugging himself for warmth, the cigarette nearing its end.  He looks down to the ground, his face possibly obscured.

MALCOLM: Shit.

6 - Malcolm turns and walks into the door after the three, throwing the cigarette down.

CAPTION (MALCOLM): And yet.

InkTober - Bet the Farm

1 - Hank and Larry stand in a doorway of a barn, looking inside (and towards the reader).  Larry points proudly towards the barn's interior.  Hank looks confused.

LARRY (1): There he is.

LARRY (2): Pay dirt.

2 - Hank lowers his head and pinches the bridge of his nose in disbelief / frustration.  Larry looks at Hank, confused.

HANK: Are you serious?

LARRY: What?

3 - Hank grabs Larry by the shirt and shakes him a bit.  Larry tries to shake Hank off, while again pointing towards the reader.  He reacts as if what Hank is saying could not be more obvious.

HANK: You said we were going to be kidnappers!

LARRY: Yeah?

4 - Switch focus.  On a baby goat hiding behind his mother in the barn, illuminated by the flashlight beams.  Both look kind of scared.

HANK (off-panel, tailless): You'll forgive me, Larry, if I was expecting something else.

InkTober - Miscalculation

1 - A car has crashed off the side of a lonely country road in the middle of the night.  The trunk is open, as are the driver and passenger doors.  No one is visible.  A line of trees is visible in the background.

NO COPY

2 - Within the forest, there are signs that a number of people have hastily moved through this area - broken branches, muddy tracks, and evidence of slipping and tripping.  Once again, no one is visible.

NO COPY

3 - On an open briefcase sitting on the ground, overflowing with money.  Some of it is in the mud, other bills have mud on them.  There is a handcuff link around the briefcase's handle, the chain leading off-panel.

NO COPY

4 - On the opposite handcuff link, which is around a man's wrist (also lying in the mud).  Not much more than the hand and wrist are visible, but it's clear the man is wearing a suit and that he has taken some injuries (cuts and bruises, etc).

NO COPY

5 - Reveal.  The man who is handcuffed to the suitcase of money is lying dead in a forest.  The cuts and bruises on the hand were just the beginning, as this guy was in sorry shape, but it's not exactly clear what the cause of death was.  Two crooks, both wearing rumpled suits (with evidence of mud on their knees, elbows, and the like from the chase), stand on either side of the dead man, staring down at his body.  Their expressions are somewhere between neutral and shocked.

NO COPY

6 - Repeat panel.  The crooks look up and lock eyes with each other, angry.  The yell and gesticulate at each other.  They speak the same words to each other.

BOTH: This is all your fault!