Noirvember - Snowfall

1 - Establishing shot of a forest in winter. It's snowing and the tops of the trees are covered in white. Birds fly out from the trees in agitation (we'll soon see it was a gunshot).

NO COPY

2 - Two figures stand in a clearing, snow peppering their shoulders. One is holding a gun at their side. Off behind them, at the edge of the panel, some legs are visible lying on the ground - maybe some red blood is speckled around it. Footprints are all about them, indicating they've been pacing about this area.

FIGURE 1: Really wish he'd talked sooner.

3 - The figures are looking around, concern on their faces as they realize the footprints stop outside their immediate surroundings - the falling snow has covered up their path in, leaving them without any indication of how to get out.

FIGURE 2: Yeah, that took forever.

FIGURE 1: For reals. Let's get...

4 - Repeat the first panel, but no movement from birds this time.

CAPTION (FIGURE 1): "...outta here..."

Noirvember - Carpool

1 - Interior of a car. It's recently crashed and upside down. Nina, Clara, and Sheila hang upside down, held in place by their seatbelts. They are unconscious and beat up from the crash. Nina, in the driver seat, is in the process of waking up, bringing a hand to her temple.

NINA (groggily): ugh...

2 - Nina looks around and surveys the situation. She does not like what she sees. One of her hands reaches for her seatbelt.

NINA: This is bad.

3 - Nina awkwardly flounces onto the roof now that her seatbelt is undone.

NINA: oof!

4 - Nina crawls about, trying to wake up her companions.

NINA: Guys, wake up. We gotta go.

5 - Exterior. The upside down car is kind of balanced on the side of the road next to a steep hill / precipice of some kind. It looks somewhat precarious.

NINA (inside car): We gotta go!

Noirvember - The Best Laid Plans

1 - Jo is lying on the ground, apparently unconscious. It's not entirely clear where she is, but she's on some concrete. She's cut up and bruised a bit, with some rips in her clothing. No other hints as to what's going on are visible.

NO COPY

2 - Repeat panel. Jo spasms a bit as she starts coughing.

JO: {koff! koff!}

3 - Closer in on Jo. She's up into a sitting position, holding her phone loosely in one hand. She looks tired and disappointed.

JO (quietly): dang

4 - On Jo, now talking into her phone.

JO: Hey, bad news.

5 - Pull out to reveal that Jo is nearby a neighbourhood power station, with some power lines, generators, etc. A car (that she was recently driving before jumping out of it) has smashed through the fence and crumpled into one of the generators. While the car looks rather worse for wear, beyond a possible minor dent, the generator seems to be fine.

JO: We need a new plan B

Noirvember - Another Man's Treasure

1 - A river in a quiet, residential part of a city. A teenage girl, Olivia, splashes down into water with a big splash.

SFX: splnk!

2 - Worm's eye view looking up at Olivia sitting in the water, partially submerged (but able to sit up outside the water). She wears a stunned expression as she looks down at the water. Her friends stand on a little bridge above. Candice is horrified, while Brian and Kendrick are laughing.

CANDICE: Omigod, Brian!

3 - On Olivia, still looking down at the water, but her expression is now more shocked / surprised.

CANDICE (off-panel): Are you okay, O?

4 - Olivia picks a shiny piece of jewelry out of the water, amazed at what she's discovered. However, she may be looking past it.

OLIVIA: Guys...

5 - Focus on where Olivia is looking, as a bag of jewelry / general valuables sits on the riverbed nearby. Perhaps it's caught on some rocks, but the riches inside are visible.

OLIVIA (off-panel): You gotta get down here!

Noirvember - Tools of the Trade

1 - Paul is in a local hardware store. He has a basket in one arm and is adding a hammer to it with the other. There's already zip ties, a caulking gun, and some screwdrivers in the basket.

NO COPY

2 - Paul is comparing pliers, holding a regular set in one hand and needle nose in the other.

NO COPY

3 - Paul is speaking with a store employee, holding up some sandpaper for them to look at.

PAUL: Would you have anything coarser?

4 - Paul's at the checkout, the cashier ringing him through. He has a lot of tools on the conveyor belt.

CASHIER: Find everything you're looking for?

PAUL: Think so.

5 - Paul is outside the store, walking towards his car. He holds some shopping bags filled with his purchases. There isn't anyone much around.

PAUL: Sorry to keep you waiting.

6 - Paul has opened his car's trunk and is putting the bags in. There's also a person in there who is bound and gagged.

PAUL: I find fresh tools are generally best.

Noirvember - Power Dynamics

1 - Establishing shot of a downtownish street. It's winter time, so while it might not be late, it's definitely dark. It's also snowing. There are some storefronts of various restaurants, shops, etc. There's also a lonely looking alley.

ORSON (from the alley): Are you serious?

2 - Into the alley. We look at the boots of Orson and Scott standing amidst the freshly falling snow. Orson's boots look worn and ratty - maybe a hole or something close to it; whereas Scott's boots look new and warm. There's some garbage cans in the background, maybe one is spilled over, etc.

SCOTT (off-panel): Sorry, man, I forgot it at home.

3 - Focus on Scott's torso, revealing him to have a really nice jacket on. It looks warm and comfortable, particularly in the winter setting.

ORSON (off-panel): Will gimme your jacket then.

4 - Focus on Orson's face, he looks desperate and scraggily - not enough sleep, unshaved beard, scars, etc. The type of person who is not joking around.

SCOTT (off-panel): Are you serious?

5 - Reveal Scott and Orson in their entirety. Orson, looking as down on his luck as the previous panels have implied, is in the process of mugging Scott. He waves the knife menacingly to remind Scott of the situation he's in. Eyes wide with fear and worry, he starts taking off his jacket.

SCOTT (1): Right.

SCOTT (2): Okay.

Noirvember - Return to Sender

1 - First four panels are from the same framing of looking out a suburban house's open front door at the hoodlum standing on the steps. It's night time and the light from the house is bathing the woman standing there. She's wearing a balaclava, which obscures her face, a beat-up leather jacket, gloves, and a pair of cargo pants. She has one hand up and scratching the side of her head to try to hide how nervous she is. She grimaces awkwardly.

WOMAN (1): This is embarrassing.

WOMAN (2): I was nervous. Read the address wrong.

2 - Repeat framing. The woman holds a small piece of paper, maybe gesturing at flipping it 180 degrees or some arrows drawn to show this happening.

WOMAN (1): Realized too late I had the paper upside down.

WOMAN (2): And with your house being 616...

3 - Repeat framing. The woman drops her hands to her side and lets out a big breath of air, sighing. Either draw the air coming out and / or add in a little {sigh} in lettering.

NO COPY

4 - Repeat framing. The woman is still awkward / nervous, but she holds out a hand palm-up, hoping to receive something from her interlocutor.

WOMAN: I guess what I'm trying to say is, I'm terribly sorry about the window, but could I have that back?

5 - Switch angles to reveal the terrified homeowner who is holding the brick the woman errantly threw through his window. He reaches out to give it back, terrified he might be in danger.

NO COPY

Noirvember - Part-Time Job

I picture the script with panels 1 through 6 in two small rows at the top, with the background repeating and only Aaron / the activity on the panels changing, with the final two panels taking up the rest of the page.

1 - Aaron stands in a nondescript hallway leaning against the wall next to a nondescript closed door. Aaron is a big guy with a hulking physique. He's some scars around his face and a nose that's been broken a few times. He's got some heavily tattooed arms, and while we can't see it from the muscle shirt he wears, it looks like the ink continues onto his torso. His hands are wrapped like a boxer. He looks towards the door, a nervous look on his face. He doesn't know what to do with his hands.
LETTERING NOTE: I'd like if a word balloon could come from within the door to show that people are inside talking, but that it's muffled from the door, so what they're actually saying is muffled.

2 - Repeat panel. Aaron looks at his hands, maybe checking the wraps to make sure they're properly set.

NO COPY

3 - Repeat panel. Aaron kind of looks away from the door.
LETTERING NOTE: The muffled talk continues.

4 - Repeat panel. Aaron turns back to look at the door in shock due to the loud shouting and smack he hears within.
LETTERING NOTE: The dialogue from within would start indistinct and move to audible due to the shouting.

MAN (from within): [indistinct] show you!

SFX: whmp!

5 - Repeat panel. There's a pause in the talk from within. Aaron still looks in shock at what he's heard.

NO COPY

6 - Repeat panel. Aaron is still staring at the doorway, the shocked look mingled with embarrassment as the door opens and a man leans out.

MAN: You're up.

AARON: Y-you sure?

MAN: Did I stutter?

7 - Inside the room, looking towards the door. Aaron is coming in, checking his wraps once again. Despite his large size, he looks small, uncertain, and apologetic. The room is dark, with the main light coming from the doorway. Two men (including the one who leaned out in the previous panel) are leaving the room towards said door behind Aaron.

AARON: Sorry about all this.

8 - 180 flip to reveal a man tied to a chair with his mouth duct taped. He has a cut near his eye from where he was just hit - it's bleeding slightly. He's wearing a rumpled suit and looks very scared. Aaron's shadow looms over him.

AARON: You should have told them what they wanted to know.

Noirvember - One Man's Trash

1 - A man stands on a bridge overlooking a river in a city. It's late at night. No one else is around. He holds some jewelry / general valuables that he's in the process of putting into a bag on the halfway on the side of the bridge.

MAN: {sigh}

2 - The bag filled and closed, the man gives it a little toss of the side of the bridge. He looks sad about it.

MAN: I'll be back for you.

3 - Far out shot with a little splash below to indicate the bag hitting the water. The man is walking away from the bridge, although how visible he is in this silhouetted view is up for debate.

MAN: I swear.

4 - Back on the man, walking down the street away, getting further away from the bridge. In the near distance, some cop cars are driving his way.

NO COPY

5 - The cars have stopped and cops are out with the guns raised. The man holds his hands up, surrendering.

MAN: Evening, officers. What can I do for you?

Noirvember - On Edge

1 - Elsie and Denise stand in Denise's kitchen. Elsie aims a gun at Denise, angry and nervous. Denise stands on the other side of a kitchen counter, looking at her calmly. Denise's hands are below the countertop, not visible.

ELSIE: Denise, show me your hands!

DENISE: Elsie, calm down. How long have we known each other?

ELSIE: That's why I want your hands!

2 - Denise raises her hands. Elsie relaxes a little.

DENISE (1): Of course.

DENISE (2): We're all friends here.

3 - Denise tentatively comes out from around the counter, hands lowering in a conciliatory gesture.. Elsie is not loving this.

DENISE: Let's talk this out.

4 - Elsie raises the gun again, keeping the space between her and Denise. Denise brings the hands back up, her back now towards the doorway to the living room (but still facing the reader).

ELISE: You stay away from me!

DENISE: It's clear I've done something to upset you.

5 - From behind Denise, hands still raised. Having them up brings the bottom of her shirt above her waistband, which reveals the knife that she has stashed in it. Elsie still hasn't seen it, but keeps the gun raised, sure Denise is up to something.

DENISE: Let's figure out what that sticking point is.

Noirvember - Bug-Out Bag

1 - Chuck, a mid-fifties guy crashes through an apartment door he's shouldered open.

SFX: krrrrak!

2 - Chuck starts to pull himself back up to his feet. The place is a mess - there's money and drugs and stuff on the coffee table and the floor, clothing is strewn all about, and it's general chaos. The window at the back of the room is open, letting in snow.

CHUCK: Shit.

3 - Chuck is looking around, his phone out and to his ear. The "camera" moves towards the open window (so Chuck is not the focus).

CHUCK: The kid bolted.

4 - Looking out the window. A young woman is running across the street below. She holds a hastily filled duffle bag and does not have the proper clothing for the winter weather (maybe mismatching shoes / boots?).

CHUCK (off-panel): Dunno where she could have gotten to.

Noirvember - Home Sweet Home

1 - Night time. Bryan has broken into a house and finds himself in its well appointed kitchen. He wears a mask, but it's clear that he's both pretty drunk and a little confused at what he's seeing looking at some of the fancy appliances (specifically a coffeemaker in this panel). The kitchen light is off and it's a bit dark.

BRYAN (drunkenly): Huh, this guy has the same coffeemaker as me.

2 - Bryan looks next to the coffeemaker at the waffle maker and mixer.

BRYAN (drunkenly) (1): Same waffle iron and mixer, too...

BRYAN (drunkenly, quietly) (2): Weird.

3 - The kitchen light goes on, Bryan forgets what he's doing as his eyes go wide.

HEATHER (off-panel): Bryan? What are you doing down here?

4 - Pull back to reveal Heather, Bryan's exasperated wife, wearing a housecoat. Maybe pinching the bridge of her nose in frustration. She's come down from the bedroom, because Bryan is so wrecked that he's trying to rob his own house. Bryan has raised his mask to get a better look at her, but he doesn't understand what he's seeing (or how he's seeing it). Maybe also reveal that Bryan made a mess elsewhere in the kitchen, either knocking things over or maybe making some food he'd half-eaten.

BRYAN (drunkenly) (1): H-Heather?

BRYAN (drunkenly) (2): Turn off the light, I'm tryin' ta rob some good with real good taste...

HEATHER: This is not what I expected when I warned you about stealing while sloshed...

Noirvember - Window of Opportunity

1 - Night time. Maddi and Victor stand at the backdoor of a house. Victor is about to try to kick it open, but Maddi puts a hand on one of his arms to stop him. She's looking down, having seen something.

MADDI: Hold up

2 - Maddi leans down and lifts the welcome mat from the backdoor. There's a spare key beneath, but it'll be the focus of the next panel so it's alright if it doesn't get a lot of attention here.

MADDI: You gotta think smarter, not harder.

3 - Victor is now down and has picked up the key. Maddi is (mostly) off-panel, a crashing sound effect coming from her direction.

VICTOR: Good point. I didn't even think to look for a spare key.

SFX: krssh!

4 - Switch to reveal that Maddi has used the mat to break a window without getting hurt and is now using it to clear out the remaining broken glass.

MADDI: A spare what?

Noirvember - Dog Days

1 - Close-up of some blades of grass with dew still on it. It's early morning in the summer.

WALKER (tailless): Lasagna!

2 - Pull back to see a golden lab straining at his leash to get into some deep and prickly bushes. There's clearly something within that has his attention.

WALKER: No!

3 - Switch to the lab's walker, a young woman in sweats and an old shirt. She's clearly only partly awake for this early morning stroll and is trying to restrain her dog from going deeper into the bush. The leash is taut.

WALKER: We have to keep going!

4 - The lab is losing ground, but leaping and pulling at the leash.

WALKER: My yoga class won't take itself!

5 - The woman has the lab by his collar and drags him away.

WALKER: I know you just want to roll in some dead thing.

6 - Move the focus to inside the bush. A recently dead body is lying on the ground, the source of the dog's interest.

WALKER (off-panel): Not this time, mister.

Noirvember - new phone who dis?

1 - Daytime. Winter. Tanya sits in her car, a puffy winter jacket and gloves to keep her warm. Her attention is grabbed when her phone dings.

SFX: ding!

2 - On the console in between the front seats. Tanya has opened it and rummages through, but it's mostly filled with CDs. The cupholder has a mostly drank coffee.

SFX: ding!

3 - From inside the glove compartment, looking out at Tanya's confused / frustrated face as she continues to search for her phone. A handgun is plainly visible amidst the papers and documents within.

SFX: ding!

4 - Tanya sits in her car, confused as to where her phone is. It continues to go off.

SFX: ding!

5 - Tanya's face lights up and she digs through her inside jacket pocket.

SFX: ding!

6 - Tanya looking at her phone. She's confused / incredulous at what she sees. She's removed one glove so as to be able to use the touch screen.

SFX: ding!

7 - Tanya is getting out of the car, sliding the gun from panel 3 in the back of her waistband.

NO COPY

8 - Back inside the car, looking at the phone she's left on the passenger seat. It's on the text screen. The contact is named "Boss Baby" and the texts are as follows:
food to go
food to go
FOOD TO GO
ducking autocorrect
...
let's rob this place

Noirvember - Fire in the Taco Bell

1 - Interior of a warehouse. It's mostly empty. Maybe a board with plans and photos and other varia related to planning a bank heist to one side. The focus is a group of robbers sitting on folding chairs drinking and celebrating said bank heist. The duffle bags of money could be on the ground at their feet. Maybe some of them still have the masks they were wearing on their heads (raised like hats). They are all in a very good mood. To the ride side of the panel, an additional robber walks in, Helena. She's clearly coming in late and wears a stunned expression, her clothing and face somewhat singed. Her colleagues raise their drinks in welcome.

ROBBER 1: Helena!

There was no one around. Your distraction must have been perfect!

2 - The robber is up and approaching Helena to offer her a drink. He is not picking up on how shaken she is.

ROBBER 1: We were starting to worry!

3 - Back at the group, Helena stands instead of taking the open chair.

ROBBER 2: Considering how easy our job was, your distraction must have been perfect!

HELENA: Yeah...

4 - Cut to a city block that is currently on fire. The blaze is enormous and has spread to the vast majority of buildings. Firefighters and other first responders are everywhere, doing their best to douse the flames, but they aren't making much progress.

CAPTION (HELENA): ...That's one way to put it.

Noirvember - The Daily Catch

1 - Early morning. A fishing boat lists to one side as its occupants (and their crane) pull a big net of fish out of the water.

NO COPY

2 - The crane moves the net of fish over the boat's deck. A woman stands below, helping to guide it. One of her colleagues looks up at the haul, a squint and puzzled look on their face.

COLLEAGUE (quietly): Is that...?

3 - The net is opened up and the fish pour onto the deck.

SFX: splrt!

4 - The pile of fish is all over the deck. A dead body lies in the midst of the pile, some fish nearby flopping about it. The colleague puts a hand to their face, ill at the sight; the woman is holding a satellite phone to her ear.

WOMAN: Yes, could you connect me to the police?

Noirvember - Leap of Faith

1 - A young man races across an apartment rooftop, looking behind as he runs. Maybe some pursuers are visible in the background.

NO COPY

2 - The young man keeps running, stumbling a little as he tries to avoid a clothesline. His eyes are wide at something up ahead.

NO COPY

3 - Switch to what's up ahead: the end of the rooftop and the big gap between this rooftop and the next one.

NO COPY

4 - The young man takes off in a leap to make it to the next rooftop. Frame to see both sides of the gap.

NO COPY

5 - Repeat panel. The young man is no longer visible.

NO COPY

6 - Focus on the roof edge the young man leaped from. Two figures - the pursuers - look over the edge and downwards. The first figure looks nonplussed, maybe a little disappointed, whereas the second figure looks ill at what they see.

FIRST FIGURE: What a shame.

7 - The first figure has turned and is walking away. The second figure looks towards them, a little surprised at how quickly they've moved on.

FIRST FIGURE: He's not going to be in any condition to talk now.

Noirvember - Game Over

1 - Establishing shot of a building in the industrial part of town. It looks rundown, there's maybe some wooden boards across the garage entrance, etc. A car is parked nearby. A man walks towards the building's entrance, pausing in a moment of recognition as he notices the car and realizes someone is watching the building.

NO COPY

2 - The man runs towards the door in a panic. There's no movement from the car.

NO COPY

3 - Repeat scene. The man is inside and the front door is ajar. Still no movement from the car.

NO COPY

4 - Repeat scene. A second car (driven by the initial man) bursts out of the building's garage, tearing apart the wooden boards.

SFX: KRRSH!

5 - Inside the parked car. We see a slacker-type sitting in the driver seat. They look behind them as that second car drives away (visible through the car windows). They hold a phone in their hands that they've been playing a video game on.

SLACKER: Dave is going to be so pissed.

Noirvember - Breadcrumbs

1 - A young man is running through the forest at night. He wears pants, but is shirtless and shoeless. He runs with reckless abandon, looking behind him in fear as he goes. There's significant brush that he's going through.

NO COPY

2 - The young man trips and is going down hard. A cell phone comes out of his pocket as he's tumbling.

NO COPY

3 - The young man lands with a thud, knocking the wind out of him. Maybe have the panel focus on his cell phone, so he's a bit off-centre.

YOUNG MAN: oof!

SFX: thud!

4 - Closer on the cell phone. The young man is getting up and heading off, still looking back in fear.

NO COPY

5 - On the cell phone, but it's day time. A shadow looms over the phone / a hand reaches down to pick it up.

BADDIE (off-panel): Now what do we have here?

6 - Pull out to show a group of three or so bad guys who are wearing some hunting gear / camo and totting some guns. The one shows the cell phone to the others; they all smile cruelly.

BADDIE: He can't have gotten far.

Noirvember - Getaway

1 - Establishing shot of a cottage by a lake. It's winter time and a light snow is falling. Oscar and Jules are unpacking the car. Jules walks towards the cottage with some bags / boxes, while Oscar closes the trunk, some bags at his feet.

OSCAR: That should be everything.

2 - Closer in on Oscar as he picks up the bags. A look of concern spreads across his face at Jules' words from off-panel.

OSCAR: Hope you're ready for an extremely romantic weekend.

JULES: That's weird.

3 - From inside the cottage, looking at the entrance door, which is slightly ajar. Maybe some snow has gotten in. The important thing is that the cottage interior is dark and foreboding, and the outside world is bright. Jules stands closer, confused and concerned, but Oscar is also visible through the gap.

JULES: Did you leave the door open?

4 - The two have entered into the cottage. Jules remains near the door, looking away from the reader. Oscar has come in a bit more, looking at something off-panel in alarm.

OSCAR: Jules.

5 - Pull back slightly. In the foreground, the living room is a bit messy, clear evidence of someone else being there. What's worse, there's a pistol sitting on the coffee table. Oscar holds a similar position as the previous panel, Jules looks over, similar alarm on her face. They are next to a wall that ends at the entrance to the living room - a man stands against it, looking towards the living room and wondering what he's going to do, especially without that gun.

OSCAR: Get back in the car.

Noirvember - Special Delivery

1 - A man stands on the porch outside his house. He's dressed in regular clothes, although maybe a little disheveled. He hasn't slept, which might be reflected in his hair / face / potential five o'clock shadow. He looks at his watch, clearly impatient.

NO COPY

2 - Close on a newspaper landing on the yard's grass.

SFX: whmp!

3 - The man is crouching down to pick up the paper. He looks up in annoyance at the paperboy at the edge of the driveway stopped on his bike.

MAN: You're late.

PAPERBOY (1): Are you for real?

PAPERBOY (2): I'm 14. I only do this because my parents make me.

4 - On the paperboy as he bikes away. In the background, the man is already heading back into his house.

PAPERBOY (1): They invented something called the internet if you're in such a rush.

PAPERBOY (2) (quietly): prick

MAN (quietly): cretin

5 - The man is inside his house, looking at the front page as he walks away from the closed door, a bit of a smile on his face.

MAN: Now...

6 - On a second man sitting in the living room tied to a chair with duct tape across his mouth. He looks exhausted, scared, and probably a little roughed up. In front of him there is a camera set up, ready to take a picture.

MAN (off-panel): ...where were we?

Noirvember - Deadlines

The first four panels would be small and at the top of the page to set the scene / mood.

1 - Close on an analog wall clock. It's a few minutes to 10.

NO COPY

2 - Close on Mason's hands tearing bits off a coaster nervously. He's been going a while and there isn't much left.

NO COPY

3 - Close on Mason's cellphone. It's an old school flip phone, currently closed. It displays the time - 9:57pm - and has bits of coaster all over it.

NO COPY

4 - Close on Mason's eyes, looking down nervously. Sweat beads on his forehead.

NO COPY

5 - Close on Mason's (now open) phone screen. It displays "MESSAGES" at the top, with three texts visible. None of the contacts have names so they're just phone numbers (three different numbers). The texts are short, so we can see them and their time stamp in their entirety:
where u at? (9:55pm)
all good? (9:53pm)
Nearly time... (9:52pm)

NO COPY

6 - Shot of Mason at the bar, looking at the clock which now reads 10pm. His beer bottle is mostly full and its label has been torn off while he waits, like the coaster.

MASON: {sigh}

7 - Mason chugs the bottle, finishing it off.

NO COPY

8 - Mason walks away from the bar, cracking his phone into two pieces to destroy it. Some money is left on the bar along with the mess.

NO COPY

9 - Outside. A 3/4 view looking down on Mason as he walks away from the bar and into the night. He throws the two pieces of phone away, one to either side.

MASON (quietly): Shit...

Noirvember - Anonymous Donation

1 - Establishing shot of a living room the morning after what looks like a pretty rowdy party. Iris and Kent are passed out, Iris on the floor, Kent on the couch. The place is a mess - the coffee table is flipped over, food and empty drinks litter the floor and every surface, the TV might be broken, the drapes are ripped, etc - you get the idea. Iris is in the process of waking up, a hand rubbing heavily at her eyes.

NO COPY

2 - Iris is up and walking through the room, still kind of out of it. She picks up the bottle that Kent passed out holding.

NO COPY

3 - Iris takes a sip and surveys the damages.

IRIS (quietly): Dang. We did we do last night?

4 - A cooler sits in the foreground, the focus of the panel. In the background, Iris sees it, looking confused.

NO COPY

5 - Iris has opened the cooler and looks inside, the confusion on her face morphing to worry.

IRIS: Kent...

6 - Top down angle to show there is a kidney on ice inside this cooler. Iris turns around to try to get Kent's attention.

IRIS: What did we do last night?

Noirvember - Fairest of Them All

This page takes place in a public men's washroom that has individual mirrors for each sink. The mirrors also have hinges. This is relevant because every panel will be a fixed shot looking at the same mirror, showing its reflection (which will change depending the hinges' angle). The mirror we're looking at also potentially has a crack in it near the bottom, although this isn't necessary if it would impact readability.

1 - The initial reflection shows some of the stalls, although we're at a bit of an angle, so it's not head on. They are looking worse for wear - a fight has clearly taken place here. The edge stall to the panel's right has fallen over and its door has been caved in. Water is seeping in from the right side of the panel. There's debris and patches of blood littered about. On top of all this, a woman's hand reaches up from the right-bottom of the panel and grabs the mirror from the bottom, adjusting it. This is Riley. Her hand is red and cut up, further evidence of the fight. A weak moan comes from bottom-left off-panel.

MOAN (off-panel, weakly): ugh...

2 - Repeat mirror, except it's been moved and now shows the urinals. They're wall hanging ones and, while there's some blood along them, one is broken (apparently from blunt force) and is the source of the leaking water. Riley stands over the sink, her head hanging down from exhaustion. Her hair is wet and matted to her head and neck. She spits blood into the sink. Note: the mirror should have some blood on it where her hand held it in the previous panel.

SFX: ptuh!

3 - Repeat mirror. Riley looks up. She has a still bleeding cut above her eyebrow and one along her cheek. Her nose is visibly broken and bleeding down her mouth and onto her shirt (I was going to say not dissimilar to Andrew W.K., but maybe the touchstone I actually want is Becky Lynch). She is defiant, again, not unlike Becky Lynch. Her clothes are ripped and have some blood on them - not all of it hers. The urinal continues to leak water in the background.

NO COPY

4 - Riley bares her teeth to take a look at them. They are also covered in blood. Maybe she runs a finger / thumb along them to assess the damages.

NO COPY

5 - Riley heads off and to the left, pushing the mirror back into its "home" position against the wall.

NO COPY

6 - Riley is gone, but in the mirror's reflection, we now see the rest of the toilet stalls and two men are lying in a heap in the water that has now seeped over. They are battered and broken and the source of the moaning from panel 1.

NO COPY

Noirvember - When Life Closes a Door

1 - Night time. Establishing shot of an independently owned electronics store. The storefront reads iComputer in a dated font and style from the early 2000s. A low glow can be seen in the windows from the computers on inside.

NO COPY

2 - Interior. A little aisle of tables with some laptops / tablets / computers on top, leads to a door with a handwritten sign that reads "DON'T CLOSE ME!". Note that some of the computers seem to be missing from the tables, with open spots and cords leading to nothing. These computers (and others off-panel) are giving off that low light from panel 1 and maybe some shadows of people?

NO COPY

3 - Mark, a young employee, sits on a box inside a small room, looking at his phone which has a "no signal" on the screen. Maybe his eyes look slightly to the side, ask if registering the sfx at the bottom of the panel. The door is next to him.

SFX: shfffshfffshfff

4 - Mark is off his box and banging on the door, desperate.

MARK (1): Hey! I'm stuck in here! Let me out!

MARK (2): Heeeey!

5 - The door bursts open, knocking Mark back into the box and a shelf. The handwritten sign can be seen on the door.

SFX: crsh!

MARK: oof!

6 - Two burglars with masks stand in the doorway, one pointing a gun at Mark. If it can fit, maybe show a bag with some of the computers in it. Mark is shocked.

MARK (quietly): shit

Noirvember - Old School

1 – A young man is exiting a convenience store. It’s late at night. He looks nervous and uncomfortable. He holds his jacket awkward – he’s doing a bad job of hiding the various sundries he’s stolen (some of them might be poking out and visible to the reader - nothing high value, chips, candy bars, and the like). In the background, an old man (think kindly grandpa-esque) fishes through a coin purse in front of a bored store clerk (maybe flipping through a magazine). If it’s visible, the old man’s item is very inexpensive (pack of gum type of thing). While the clerk is paying no attention, the old mine might be looking back towards the kid.

OLD MAN: I must have a dime…

2 – The young man is walking away quickly from the store. A bag of chips falls (has fallen?) from his coat and trails behind him. He doesn’t notice.

NO COPY

3 – Having turned a corner, the young man leans back against the wall, exhaling in relief (maybe have a little puff of breath coming from his mouth)

NO COPY

4 – Repeat panel, but someone calls from off-panel, causing the young man to open his eyes in surprise / fear.

OLD MAN (off-panel): Excuse me…

5 – The old man is there, holding the bag of chips out to the young man. The young man is confused, but trying to put on a brave / aggressive face.

OLD MAN: I think you dropped these.

YOUNG MAN: So what?

OLD MAN: So I think you’ve got potential.

6 – The old man opens his jacket to reveal some stolen goods within (in pockets, liner, etc) – his items are much higher value (cigarettes maybe?). The young man is surprised / doesn’t know what to do with this new information.

OLD MAN: And I’m going to teach you how to do it right.

Noirvember - DIY

1 - Night time. Keith walks from his car in his driveway to his home. He holds a duffle bag at his side. Maybe he looks around to make sure no one sees him at this time of night. Keith wears a tuque and jacket, his clothing overall nondescript.

NO COPY

2 - Keith walks down the stairs into his unfinished basement, still holding the duffle bag. On his workbench is a bag of concrete, a bucket of water, a builder's shovel, some gloves, a tarp, and the like. A shovel leans against the work bench.

NO COPY

3 - Keith shovels / pours some concrete mix onto the tarp. He's removed his jacket (but not his tuque).

NO COPY

4 - Keith pours water into the concrete.

NO COPY

5 - Keith mixes the concrete and water together with the shovel. He's no longer wearing pants. His phone buzzes on the workbench.

SFX (PHONE): bzz! bzz!

6 - Keith answers the phone. He realizes he's still wearing the tuque (looking up towards it, maybe reaching for it with his other hand).

KEITH (1): Hello?

KEITH (2): Nah, I couldn't sleep.

7 - Top down view of Keith on the phone, his tarp of cement, and a before unseen hole / space in the concrete floor. The duffle bag, Keith's clothes, and some guns lie in the space. Keith throws the tuque (revealed as an until now rolled up balaclava) into the space with the rest of the stuff.

KEITH: Had some work in the basement that couldn't wait.

Noirvember - Up the Creek

1 - Duncan, a man in his mid-forties, paddles a canoe down a river in the late summer. He looks grim and unhappy as he paddles along, the sun high overhead. The front part of his canoe is covered in a tarp, with another paddle on top.

NO COPY

2 - Later in the day. The sun is starting to go down and shadows are getting long. Duncan's river is letting out into a lake and Duncan is tired from the day of paddling alone. He's removed his hat, his shirt is covered in sweat, and he looks worn. He's taken his paddle out of the water and has it accross the boat as he rests for a moment.

NO COPY

3 - Later still. The sun is all the way down (or nearly so). It's dark, but Duncan is paddling with renewed energy as a small island looms in the distance.

DUNCAN: Thank god.

4 - Duncan sits / lies on the island's beach, exhausted from the day's work / dragging the boat up and out of the water. His eyes are closed and his arms spread to either side as he tries to regain his energy.

DUNCAN: I thought I'd never make it alone.

5 - In the background, Duncan walks deeper into the island, carrying a shovel. In the foreground, the canoe's tarp has been moved to the side (to retrieve said shovel) and a recently dead body is visible.

DUNCAN: Why couldn't you have figured things out a little closer to our destination?

Noirvember - Safe and Sound

1 - We're inside a store, focused on the counter with the cash register. The lights in the main room are off, but some spills out from the door leading to the back. A cell phone sits on the counter, its lit screen providing some additional light in the gloom. Maybe we can see some blank keys hanging behind the counter, but this is not necessary / far from a focus (although hints towards the final panel on this page).

LIV (off-panel, from the back): Are you sure about this?

2 - Close on the cell phone screen. It's an email inbox. There's a few message subject lines visible (for spam, newsletters, deals at stores, etc), but the one that is highlighted is from "Jack" and reads "Pay late again ths week :( - sorry!"

CHRISSY: He'll never know!

3 - Liv and Chrissy, two employees of the store are in the back area arguing. Liv is uncertain and reluctant; Chrissy is frustrated and certain. The two women aren't wearing uniforms per se, but both have nondescript slacks and professional-ish tops with nametags on identifying them as employees of the store in question. two in back, safe between / behind them. A safe, the source of their argument, sits between and behind them.

CHRISSY: Once we get paid, we'll put whatever we take back.

LIV: I dunno...

4 - Worm's eye view from the the safe, looking up at the two women. Liv looks confused; Chrissy is confident and a little smug.

LIV: I mean, even if I was on board, it's not like either of us has a key.

CHRISSY: Liv.

5 - Exterior shot of the storefront. The sign reads "The Locksmithy".

KELLY (from within): Do you really think that'll be a problem?