Moellennial

Writer. Podcaster. Aspiring sack of potatoes ✊🏽

COMIC SCRIPTS


VAGUE (Comic Vignette)

 

PAGE ONE (Splash Page)

 

Panel 1: Splash page. Pier and Boardwalk setting. Wide shot. Lots of people moving in all directions. There should be a man standing somewhere amongst the bodies that are moving. He’s dressed in a raggedy hoodie and jeans.

 

NARRATION: You can’t see me.

 

TERRY: D’you have change for a dollar? I need to make a phone call on the—No? Mmkay. I understand.

 

TERRY: D’you have change fo—Okay. I understand.

 

TERRY: Change for a dollar? I nee—I understand.

 

TERRY: Change for a dollar?

 

TERRY: Change for a dollar?

 

TERRY: Change for a dollar?

 

TERRY: Mmkay.

 

TERRY: I understand.

 

NARRATION: Or rather, you choose not to.

 

PAGE TWO (Three Panels)

 

Panel 1: Horizontal rectangle. Medium shot of Terry, amongst the crowd of people, standing. He’s looking to his left. With the closer view we can see his huge overstuffed backpack, with numerous jackets hanging off the shoulder straps. Terry looks rugged. He’s homeless. But you can tell he has been for quite some time. His skin is hardened and wrinkled. His hair is shaggy. His facial hair, spotty, but long. His clothes have stained splotches of dirt on them. His skin has that permanent layer of dust and dirt that living on the streets attributes.

 

NARRATION: My skin may look tattered and tough.

 

TERRY: D’you have change for a dollar? I need to make a phone call on the—No? Mmkay. I understand.

 

NARRATION: My words raw and routine.

 

Panel 2: Row two. Horizontal rectangle. Same shot Terry can be looking toward the right now.

 

TERRY: Change for a dollar?

 

NARRATION: But through the years

 

NARRATION: Through the strife, struggle and stigma

 

Panel 3: Row three. Horizontal rectangle. Same shot. Terry can be looking forward now.

 

TERRY: I need t’make a phone call.

 

NARRATION: My mind has remained mine.

 

PAGE THREE (Seven Panels)

 

Panel 1: Row one. Square. Shot from behind Terry. Passers-by walk past him.

 

NARRATION: I see how you look at me.

 

TERRY: Excuse me…

 

Panel 2: Square. Same shot. Someone walking by looks at him from the corner of their eye.

 

TERRY: Change?

 

Panel 3: Square. End of row one. Same shot. More people walk by but do not look up at Terry.

 

NARRATION: Or how you don’t.

 

Panel 4: Row two. Horizontal rectangle. Medium shot from behind Terry. This panel provides more of a view of the people passing him on the boardwalk.

 

NARRATION: I’m not a ghost.

 

NARRATION: Because you haunt me more than I haunt you.

 

Panel 5: Row three. Square. POV shot from across the boardwalk. Someone is looking in Terry’s direction. He’s speaking to someone walking past him.

 

Panel 6: Square. Same POV shot, angled a little bit downward, showing the motion of the perspective shifting from Terry to something else. Terry is now walking toward the POV (reader).

 

NARRATION: I’m not invisible.

 

Panel 7: End of page. Square. POV shot. Looking down at a cell phone that isn’t on, pretending to text.

 

NARRATION: Because you don’t look through me, you hide your eyes altogether.

 

PAGE FOUR (Five Panels)

 

Panel 1: Row one. Horizontal panel. Medium shot from the side. Terry has walked up to two people sitting at a bench. Neither look up at him as he speaks to them.

 

NARRATION: You know all about me.

 

NARRATION: But not enough to help me.

 

NARRATION: And when you see me, I scramble your senses.

 

TERRY: D’you have change for a dollar? Need to call my girlfriend from the payphone. It don’t take bills.

 

Panel 2: Row two. Small horizontal rectangle. Medium shot from behind Terry, showing his back and the two people sitting down. Neither look up at him.

 

PERSON ONE: No, sorry.

 

PERSON TWO: No, I don’t.

 

TERRY: Mmkay I understand.

 

Panel 3: End of row two. Small horizontal rectangle. Action shot. Terry holds out a dollar bill.

 

Panel 4: Row three. Small horizontal rectangle. POV shot from Terry’s perspective. He looks down at the two people sitting.

 

TERRY: Howsabout I give you the dollar, and I cen use your phone?

 

Panel 5: Small horizontal rectangle, finishing off the page. POV shot from the perspective of the one pretending to be on their phone. You can see Terry’s reflection looking down on the screen of the phone.

 

NARRATION: The answer is so simple.

 

PAGE FIVE (Splash Page)

 

Wide shot of the pier/boardwalk to convey the distance between everyone. Terry and the two individuals are placed somewhere on the right-hand side of the page.

 

PERSON ONE: Oh, uh. Um…

 

PERSON ONE: My phone is uh… It’s actually about to die.

 

PERSON TWO: And we’re waiting for someone so we need the juice.

 

PERSON ONE: Yeah. Sorry.

 

NARRATION: But always out of reach.

 

NARRATION: It doesn’t feel right.

 

NARRATION: Or it doesn’t feel earned.

 

NARRATION: But after your senses settle, I begin to blur.

 

PAGE SIX (Five Panels)

 

Panel 1: Row one. Horizontal panel. Medium shot from in front of the two individuals. Terry exits the panel toward the left.

 

NARRATION: I lose my definition.

 

PERSON ONE: Nice save.

 

PERSON TWO: I know. You were scrambling.

 

PERSON ONE: I just—You know. I didn’t want to take the chance.

 

PERSON ONE: I feel bad, though.

 

Panel 2: Row two. Horizontal rectangle. Same shot.  Person one is putting the phone in their pocket. Remember this is a boardwalk/pier so different people walking can be in view. It helps show the passage of time.

 

NARRATION: I lose your respect.

 

NARATION: I lose my humanity.

 

PERSON TWO: That why you’re hiding your phone?

 

PERSON ONE: …I just don’t want to draw attention I guess.

 

TERRY (OFF): Change for a dollar?

 

Panel 3: Row three. Horizontal rectangle. Same shot. Different tourists in the shot. Some entering, some leaving.

NARRATION: And in the end all I am is something that you can’t recognize.

 

PERSON TWO: Why do you think I never have my phone out in situations like this?

 

PERSON ONE: How smart of you.

 

PERSON TWO: Nah, I just don’t want to look like a dick. Like you. HAHAHA!

 

TERRY (OFF): D’you have change? Need to make a--

 

Panel 4: Row four. Horizontal rectangle. Same shot. Different tourists in the shot. Some entering, some leaving.

 

NARRATION: Yet something that you know how to navigate.

 

PERSON ONE: Okay but for real. Where are they? My phone may not be dying but why are they taking so long?

 

PERSON ONE: Do you want to get up? Let’s get up. Maybe we’ll run into them,

 

TERRY (OFF): I understand.

 

TERRY (OFF): Could I use your phone?

 

Panel 5: Row five. Horizontal rectangle, finishing off the page. Same shot. The two individuals are now gone.

 

NARRATION: But you can’t see me.

 

NARRATION: Or rather, you choose not to.

 

TERRY (OFF): Change?


BLACK & BLUE (Comic)

 

PAGE ONE (THREE PANELS)

 

Panel 1: Large rectangle. Wide shot of a police car patrolling the streets. It’s night. Not much traffic.

 

Panel 2: Next row. Medium square. Medium shot from the point of view of the dashboard. Officer Richardson (Rich) is driving, and Officer Walker is in the passenger’s seat

 

RICH: And then she tells me I’m boring! Can you believe that?!

 

Panel 3: Rounding off page. Medium square. POV shot of Rich from Walker’s perspective.

 

NARRATION: I don’t like my partner.

 

PAGE TWO (Four Panels)

 

Panel 1: Medium rectangular panel. POV Shot from the back seat of the vehicle.

 

NARRATION: He’s not a bad guy.

 

RICH: So I told her “Honey, I see crazy shit all day. When I’m off I just wanna relax, get my mind off of all of it.”

 

RICH: And you know what she tells me after that?! She says she ain’t seen my uniform, or my badge, so I might not even be a cop. That’s where I had to draw the line, man.

 

Panel 2: Medium rectangular panel. Medium shot from the dashboard of the car. The car is at a light, which can be reflected on to the hue of the shot. Rich is slightly turned around, and pointing to the back seat.

 

RICH: On our lunch the other day, when I dropped you off at the hot dog stand on 7th? Yeah, I picked her up, sirens screamin’ and all, and we had a lil uh, shaggin’ in the back seat. Couldn’t have nobody questionin’ my authority, let alone no one star prostitute.

 

WALKER: Wasn’t that the day we picked your daughter up from school?

 

NARRATION: I just don’t think he takes his job seriously.

 

Panel 3: Next row. Horizontal rectangle. Medium shot from the dashboard of the car. The light is green now. Hue reflected onto the shot. Rich is turned around, but looking toward Walker, smiling.

 

RICH: Yeah, but that’s beside the point.

 

Panel 4: Horizontal rectangle rounding off page.Wide aerial view. Like from a helicopter. There should be a car passing the cop car.

NARRATION: I became a cop to enforce the law. To show people that look like me that there’s a way out.

 

RICH: The point is, she won’t be callin’ me boring no more.

 

NARRATION: He’s the type of cop that people that look like me hate.

 

PAGE THREE (Splash Page)

 

Panel 1: POV shot from Walker’s perspective. He’s looking out the window. The driver in the car passing them is a black male, mid twenties, looking back at him with a hateful face.

 

NARRATION: But at the end of the day, I guess it doesn’t matter. People that look like me hate all cops.

 

PAGE FOUR (Four Panels)

 

Panel 1: Row one. Medium rectangle. Medium shot from behind the two cars. The car that was next to the cop car is speeding up.

 

Panel 2: End of row one. Medium rectangle. Medium shot from behind both cars. The car begins to merge into the cop car’s lane.

 

Panel 3: Row two. Horizontal rectangle. Medium shot from the dashboard. The car pulls in front of the cop car.
 

Panel 4: End of row two. Horizontal rectangle. Medium shot from the dashboard. Rich is pissed.

 

RICH: Did he say something to you?

 

WALKER: No.

 

RICH: Well I’m running his plates.

 

WALKER: Why? He did nothing wrong.

 

NARRATOR: Because of the times, I’m in a weird spot as a cop.

 

PAGE FIVE (Six Panels)

 

Panel 1: Row one. Rectangle. POV shot from the top of the cop car behind the sirens.

 

RICH: Not yet, but we have a quota to fill.

 

WALKER: Is that all?

 

Panel 2: End of row one. Rectangle. POV shot from Walker’s perspective.

 

RICH: What do you mean?

 

Panel 3: Row two. Rectangle. POV shot from Rich’s perspective.

 

WALKER: Just trying to stay focused on why we’re really out here.

 

Panel 4: End of row two. Rectangle. Close up of Rich.

 

RICH: Yes, that’s all.

 

RICH: His plates are clean.

 

Panel 5: Row three. Small square. Action shot of Rich turning on the siren.

 

Panel 6: End of row three. Large rectangle. Medium shot from outside of the car. Both cars are in view.

 

WALKER: What are you doing?

 

RICH: He didn’t put his blinker on when he switched lanes.

 

PAGE SIX (Six Panels)

 

Panel 1: Horizontal rectangle viewing both cars from the side. Both cars are pulled over.

 

Panel 2: Next row. Horizontal rectangle. View from the rearview window of the pulled over car.

 

Panel 3: Next row. Horizontal rectangle. Medium shot of Rich and Walker walking toward the pulled over car.

 

RICH: You want this one?

 

WALKER: You know the rule. You pull the siren, you lead the op.

 

RICH: Always by the book, this one.

 

WALKER: I’ve got your six.

 

Panel 4: Next row. Small square. Action shot of the cops footsteps.

 

Panel 5: Small square. Action shot of Rich knocking at the window of the pulled over car.

 

Panel 6. Small square, rounding off the page. Medium shot of Walker on the back right side of the car, keeping his hand on his gun just in case.

 

PAGE SEVEN (Six Panels)

Panel 1: Horizontal rectangle. Medium shot from behind Walker. The pulled over car and Rich should be in view. The hand of the driver should be handing over their license and registration to Rich

 

RICH: License and registration please.

 

Panel 2: Next row. Horizontal rectangle. Same shot. Rich begins to walk back to their car to run all the information in the car’s computer.

 

Panel 3: Next row. Horizontal rectangle. Medium shot from in front of the pulled over car. The driver, and African American man is in view. He looks angry, and Walker is also in view, inching closer to the front door.

 

Panel 4: Next row. Medium horizontal rectangle. Medium shot from behind Walker.  The shot should be looking into the car, with the passenger sitting

 

WALKER: How are you today, sir?

 

Panel 5: Medium horizontal rectangle. Medium shot from the passenger’s seat of the driver’s vehicle. Looking over toward the driver and Walker standing by the window.

 

DRIVER: Why you pull me over?

 

WALKER: Well, you gave us a dirty look and then pulled in front of us without signaling.

 

Panel 6: Horizontal rectangle, rounding off the page. Shot of the driver looking into his left side mirror at Rich who is still processing all of the information.

 

DRIVER: Ion like cops. Specially ones that look like you. The hell you think you doin’?

 

PAGE EIGHT (Five Panels)

 

Panel 1: Row one. Square. Close up of Walker.

 

WALKER: I’m trying to protect people like us.

 

DRIVER (OFF): You still a fuckin’ pig.

 

Panel 2: Square. Close up of Walker looking behind him.

 

WALKER: Rich! I got this one.

 

Panel 3: End of row one. Squae. Medium shot of Rich handing over the man’s info to Walker.

 

RICH: You sure? I flipped the siren on.

 

WALKER: Yeah, don’t worry about it. I know this guy’s older brother. We’re catchin’ up.

 

RICH: Good enough for me. I got your six.

 

Panel 4: Next row. Horizontal rectangle. Close up of the license. The name reads Jamal Patterson. Born March 18th, 1997. In his picture he does not smile.

 

Panel 5: Large Rectangle, rounding off the page. POV from Walker’s perspective looking into the car. Jamal’s demeanor is changed. He looks calm and content. Even a bit happy. In his lap is a small bag of weed.

 

WALKER: Here you are Mr. Patterson. Everything checks out fine.

 

PAGE NINE (Seven Panels)

 

Panel 1: Row one. Square. Close up of the bag of weed.

 

Panel 2: Square. Close up of Walker’s face.

 

WALKER: WHAT ARE YOU DOING?!

 

Panel 3: End of row one. Square. Medium shot from Rich’s perspective. Walker responds to Rich.

 

RICH: Everything alright, Walk?

 

WALKER: Yeah, everything’s good. We’re almost done here.

 

Panel 4: Row two. Small horizontal rectangle. Medium shot of Jamal.

 

JAMAL: You gonna do somethin’ about it?

 

Panel 5: End of row two. Small horizontal rectangle. Close up of Walker.

 

WALKER: Trayvon Martin.

 

Panel 6: Row three. Small square. Close up of Jamal.

 

JAMAL: Huh?

 

Panel 7: Horizontal rectangle, rounding off the page. Jamal’s perspective looking at Walker.

 

WALKER: Michael Brown, Tamir Rice, Oscar Grant, Sandra Bland, Philando Castile, Alton Sterling.

 

WALKER: These names mean anything to you?

 

PAGE TEN (Three Panels)

 

Panel 1: Row one. Big square. Medium shot from the hood of the car.

 

JAMAL: Yeah. Innocent black lives taken by yo kind.

 

Panel 2: End of Row one. Big square. Medium shot from Jamal’s back seat.

 

WALKER: Right. It’s my job to make sure kids like you, people that look like us, don’t lose their lives for nothing. I’m here to protect you. I’m here to show you that all cops aren’t bad.

 

Panel 3: Big square finishing off the page. Wide shot from the other side of the car. Jamal’s car is in full view and so is Rich. You can see a bit of Walker, but Jamal’s head is turned away from the shot.

 

JAMAL: That’s where you got it wrong, bro. Ion look nothin’ like you. The moment you put that uniform on you turned blue. All I see is bacon. Ion see nothin’ that look like me.

 

PAGE ELEVEN (Five Panels)

 

Panel one. Horizontal rectangle. Shot from the police car’s dashboard cam footage. It should look grainy and fuzzy like it’s from an episode of Cops. Everything should be in view. Jamal’s car. Walker at the front speaking to Jamal, and Rich on the back right side of the car with his hand holding his holstered gun. Walker is writing something down on his notepad.

 

WALKER: *sigh* Well Jamal Patterson. Today, the gift of your life was renewed. I want you to remember that. And I want you to think about how precious your life is. And how doing something as stupid as you just did could take your life away. Someone might have shot you for that bag in your lap. Think about that. Now here. Take your stuff.

 

Panel 2: Row two. Action shot of Walker handing the license and registration over to Jamal.

 

Panel 3: Close up of Jamal’s face. He looks pissed.

 

JAMAL: The hell is this?!

 

Panel 4: End of row two. Close up of a ticket that Walker just wrote. The ticket is for $78.50

 

Panel 5: Row three. Horizontal rectangle, finishing the page. Medium shot of Walker from Jamal’s perspective.

 

WALKER: You clearly don’t understand that your life is priceless. So you shouldn’t mind paying to keep your livelihood.

 

WALKER: Oh, and you failed to signal when you switched lanes. You have a good evening now, Mr. Patterson.

 

PAGE TWELVE (Five Panels)

 

Panel 1: Horizontal rectangle. Jamal pulls away. Rich and Walker walk toward their car.

 

RICH: Now who was that?

 

WALKER: Friend I went to high school with. That’s his kid brother.

 

RICH: Thought it was just a black thing. Brutha’s gotta stick together, right? Haha

 

WALKER: Mhm.

 

Panel 2: Row two. Sqaure. Close up of Rich.

 

RICH: You wanna drive?

 

Panel 3: End of row two. Square. Close up of Walker.

 

WALKER: Nah. I’m good.

 

Panel 4: Row three. Horizontal rectangle. Medium shot. The two get into the vehicle.

 

RICH: Damn, I was thinkin’ maybe since you took point with that stop, that you’d want to drive. Whatever. It’s all good.

 

RICH: Just means you gotta listen to more of my stories.

 

Panel 5: Row four. Horizontal rectangle, finishing off the page. Medium shot. The car pulls away.

 

RICH: I ever tell you about when my boy was failin’ fifth grade?

 

WALKER: No.

 

RICH: Well yeah. He’s a smart kid. Always has been. Just has a hard time assertin’ himself. Anyways. He was failin’ and his teacher suggested holding him back. But I ain’t havin’ that. So I went down there to speak to his teacher about him flunkin’ and well, have you ever seen Forest Gump?

 

WALKER: …Yeah.


BANE OF THE BARISTA (Comic)

 

PAGE ONE (Two Panels)

Panel 1: Big square taking up most of the page. Wide shot of an outdoor shopping mall. Focal point of the shot should be a small little coffee shop. It’s name is “Coffee Cat”

 

Panel 2: Horizontal rectangle, finishing off the page. Medium shot of the doors of the establishment. You can see some of the typical action of a coffee shop through the windows and doors; long line, busy barista’s frustrated customers.

 

LYNN (OFF): Extra hot, nonfat, no foam hazelnut latte with eight pumps of hazelnut!

 

LYNN (OFF): I’ve got an extra hot, nonfat, no foam hazelnut latte with eight pumps of hazelnut!!!

 

RANDOM (OFF): Is that for me?

 

LYNN (OFF): What did you order?

 

RANDOM (OFF): An extra hot, nonfat, no foam hazelnut latte with eight pumps of hazelnut?

 

LYNN (OFF): Yup, here you go man. All yours. Have a good one.

 

MANAGER (OFF): LYNN!

 

LYNN (OFF): What?

 

MANAGER (OFF): NAMES! You’ve got to call out names.

 

PAGE TWO (Nine Panels)

Panel 1: Row one. Horizontal rectangle. Medium shot from the line at Coffee Cat. There are three people behind the counter. They are dressed in typical barista attire. Black shirt and pants. Purple apron and cat ear visors. Two at the registers, and one making drinks. The two at the registers are taking orders and the one at the bar is waiting for the next drink.  In the background is the menu, where there are typical coffee drinks, all with a feline twist. The biggest standout is the sizing chart. Kitten = Small, Jaguar = Medium & Lion = Large.

 

MANAGER ONE: So that’s a Kitten Mocha? Okay. Almond Milk. Alright. Hot or Iced?

 

CUSTOMER: Hot.

 

MANAGER ONE: Alright. That’ll be $4.25. I’m trying to remember…Ray! I got it this time! First guess!

 

MANAGER TWO: Hello! Welcome to Coffee Cat. What can I get started for you?

 

Panel 2: Row two. Small horizontal rectangle. Medium shot from behind the bar. Lynn reaches for the cup.

 

CUSTOMER: Can I get a Lion iced Latte with nonfat milk?

 

MANAGER ONE: Alright Ray, here’s your change. Your drink will be ready at the end of the counter!

 

Panel 3: End of row two. Small horizontal rectangle. Close up of Lynn picking up the cup left by her coworker in the line of drinks. We can see the barista code on the cup. “M” for Mocha, “AL” for Almond Milk, “H” for Hot. And off to the side it should say “Ray” which is the customer’s name.

 

Panel 4: Row three. Square. Action shot. Lynn pumps chocolate syrup into the cup.

 

MANAGER TWO: Lion iced Latte with nonfat milk. Got it. Would you like to add any flavors to that drink?

 

Panel 5: Square. Action shot. Lynn pours the almond milk into the metal pitcher to steam it.

 

CUSTOMER: No. That’s it.

 

Panel 6: End of row three. Square. Action shot. Lynn puts the steaming wand into the metal pitcher of milk and lets it steam.

 

MANAGER TWO: Alright. Can I get your name?

 

Panel 7: Row four. Square. Action shot. Lynn pulls espresso from the grinder into the portafilter.

 

CUSTOMER: Lori.

 

Panel 8: Square. Action shot. Lynn tamps the espresso.

 

MANAGER TWO: Alright, Lori. That’s going to be $6.50. Cash or card?

 

Panel 9: End of row four, rounding off the page. Square. Action shot. Lynn puts the portafilter in the espresso machine and presses the button for the water to come through the filter.

 

 

MANAGER TWO: Okay. Here’s your card and your receipt. The drink will be ready at the end of the counter.

 

PAGE THREE (Six Panels)

Panel 1: Row one. Square. Action shot. Lynn aerates the milk. A countdown starts on this panel from 20 seconds.

 

Panel 2: Square. Action shot. She continues to aerate the milk. The milk looks foamier and fills the pitcher more. 15 seconds.

 

Panel 3. End of row one. Square. Repeat the process. Foamier milk, fuller pitcher. 10 seconds.

 

Panel 4: Row two. Small horizontal rectangle. Action shot. Lynn turns off the heating wand by turning a nob. 5 seconds.

 

Panel 5: End of row two. Small horizontal rectangle. Action shot. Lynn wipes the wand with a wet towel to clean the soon to be crusty milk off of it. 0 seconds.

 

Panel 6: Row three, rounding off the page. Horizontal panel. Close up of the espresso poured perfectly into the shot glasses on the espresso machine. Beautiful layers of brown. Perfect shots.

 

PAGE FOUR (Six Panels)

Panel 1: Row one. Square. Action shot. Lynn grabs the shot glasses full of espresso.

 

Panel 2: Square. Action shot. Lynn dumps them into the cup.

 

Panel 3: End of row one. Square. Action shot. Lynn pours the milk from the pitcher.

 

Panel 4: Row two. Small horizontal panel.  Medium shot from behind Lynn, looking toward the end of the counter. There should two customers waiting at the end of the bar for their drinks.

 

LYNN: I’ve got a Kitten Mocha with almond milk! Kitten Mocha!

 

Panel 5: End of row two. Small horizontal panel. Same shot as panel 4.

 

LYNN: Kitten Mocha! Kitten Mocha with almond milk!

 

Panel 6: Row three, rounding off the page. Horizontal rectangle. Same shot as panels 4 and 5. Ray walks closer to the counter.

 

RAY: Is that mine?

 

LYNN: What did you order?

 

RAY: A Kitten Mocha with Almond milk.

 

LYNN: Yes. This is yours. Here you go.

 

PAGE FIVE (Five Panels)

Panel 1: Row one. Small horizontal panel. Medium shot from behind Ray, looking toward Lynn.

 

RAY: Is there chocolate in this?

 

LYNN: …Yeah. Yes sir. There’s chocolate in there.

 

Panel 2: End of row one. Small horizontal panel. Same shot.

 

RAY: Okay. And you put almond milk, too right?

 

LYNN: Ye—

 

RAY: Cuz I’m lactose intolerant.

 

LYNN: I promise you there’s not an ounce of milk in there.

 

RAY: Okay.

 

Panel 3: Row two. Square. Close up of Lynn. She smiles.

 

LYNN: Have a nice day, sir.

 

Panel 3: Square. close up of Lynn. Still smiling.

 

RAY (OFF): You too.

 

Panel 4: End of row two. Square. Close up of Lynn. Her smile is replaced by a face full of annoyance and resentment.

 

Panel 5: Row three, finishing off the page. Horizontal rectangle. Wide shot from in front of the bar.

 

MANAGER ONE: You’ve got to remember to call out your names.

 

LYNN: He knew what he ordered! I watched him order it!

 

MANAGER TWO: Yeah. But customer’s like to feel validated. Gotta say the name, Lynn.

 

MANAGER ONE: Plus, corporate called this morning. They said we might be getting a “Visitor” soon. We gotta stay on our A game so we don’t all get in trouble.

 

LYNN: *SIGH* …Okay.

 

PAGE SIX (Seven Panels)

Panel 1: Row one. Square. Medium shot. Lynn pulls espresso from the grinder into a larger portafilter.

 

MANAGER ONE (OFF): Hello, sir! What can I get for you?

 

Panel 2. End of row one. Square. Action shot. Lynn Tamps Espresso.

 

CUSTOMER: I’m going to have a… Pumpkin Spice Latte.

 

Panel 3: Row two. Horizontal rectangle. Action shot. Lynn puts the portafilter into the machine and sets four empty shot glasses underneath it. A countdown begins. 20 seconds.

 

MANAGER ONE: Okay. Pumpkin Spice Latte. What size?

 

CUSTOMER: Jaguar. With whole milk, and hot.

 

MANAGER ONE: Jaguar with whole milk. Hot. Got it. Can I get a name for the drink, sir?

 

Panel 4: Row three. Square. Action shot, Lynn grabs the cup. It should Say “ICE” for iced, “L” for latte. The name “Lori” should be on the cup as well. 15 seconds.

 

CUSTOMER: Bruce Wayne.

 

Panel 5: End of row three. Square. Close up on the name Lori. 10 seconds.

 

MANAGER ONE: Alright, Mr. Wayne. That’ll be $7.10. Cash or card?

 

Panel 6: Row four. Small horizontal rectangle. Medium shot from the POV of the espresso machine. We should see Lynn from the front. She is pouring the nonfat milk into the cup. 5 seconds.

 

Panel 7: End of row four, finishing the page. Small horizontal rectangle. Close up of the four shots. Perfectly pulled from the espresso machine, sitting and waiting to be poured. 0 seconds.

 

MANAGER ONE: Alright here’s your receipt and your card, Bruce. Your drink will be ready at the end of the counter.

 

PAGE SEVEN (Seven Panels)

Panel 1: Row one. Small vertical rectangle. Action shot. Lynn pours the shot into the cup.

 

Panel 2: Small vertical rectangle, next to panel 1. Action shot, Lynn scoops ice into the cup to fill it.

 

Panel 3: End of row one. Small vertical rectangle, next to panel 2. Action shot. Lynn puts the lid on the cup.

 

Panel 4: Row two. Horizontal rectangle underneath panels 1-3. Medium shot looking toward the end of the counter. There are a few people waiting for drinks, but Lynn knows who ordered this one. It’s Lori, the blonde.

 

LYNN: Iced Lion nonfat latte!

 

LYNN: I’ve got an iced Lion nonfat latte!

 

Panel 5: Row three. Small horizontal rectangle. Same shot as panel 4. But no one has budged.

 

Panel 6: Small horizontal rectangle. Super close up of Lynn’s eyes. They’re squinted in aggravation.

 

LYNN: Lori!

 

Panel 7: End of row three, rounding off the page. Horizontal rectangle. Medium shot from the front of the counter where the customers wait. We are in front of both Lynn and Lori. Lori should be on the left, Lynn should be on the right. Lori smiles.

 

LORI: Is this mine?

 

LYNN: iced Lion nonfat latte?

 

LORI: That’s me! Thank you.

 

LYNN: …No problem.

 

PAGE EIGHT (Four Panels)

Panel 1: Row one. Small horizontal panel. POV shot. Lynn looks at the next cup. It says “PSL” for Pumpkin Spice Latte. “H” for Hot. “WH” for Whole Milk. And the name, which says “Bruce Wayne.

 

Panel 2: Small horizontal panel. Extreme close up on Lynn’s eyes.

 

Panel 3: End of row one. Small horizontal panel. Same shot. But now Lynn is rolling her eyes.

 

Panel 4: Row two, finishing off the page. Big square. Medium shot from behind Lynn as she turns in the direction of the counter where customers wait for their drinks. There is a customer, “Bruce Wayne” staring at her already.

 

PAGE NINE (Eight Panels)

Panel 1: Row one. Vertical horizontal rectangle. Action shot. Lynn pulling espresso grounds

 

Panel 2: Vertical horizontal rectangle. Action shot Lynn grabbing the whole milk

 

Panel 3: Vertical horizontal rectangle. Action shot. Lynn pumping the pumpkin spice syrup in the cup.

 

Panel 4: End of row one. Vertical horizontal rectangle. Action shot. Lynn pouring the milk into the cup.

 

Panel 5: Row two. Square. POV shot from Lynn’s perspective. Bruce Wayne is still staring at her.

 

Panel 6: End of row two. Square. POV shot from Lynn’s perspective. She pushes the button on the espresso machine to pour the espresso into the shot glasses.

 

Panel 7: Row three. Horizontal rectangle. Medium shot from behind Bruce Wayne, looking toward Lynn and the espresso machine. Lynn is cleaning the counter while she waits for the shots to finish pouring. She peaks toward Bruce Wayne.

 

Panel 8: Row four, finishing off page. Horizontal rectangle. Same shot. But now she’s outright looking at Bruce Wayne.

 

LYNN: Can I help you, sir?

 

BRUCE WAYNE: I’m just admiring your work is all.

 

PAGE TEN (Seven Panels)

Panel 1: Row one. Horizontal rectangle. POV shot from Lynn’s perspective. She pours the shots into the up.

 

Panel 2: Row two. Horizontal rectangle. Medium shot from in front of the bar. Bruce Wayne should be on the left, and Lynn should be on the right. With the Espresso machine right there with her.

 

LYNN: I’ve got a Jag Pumpkin Spice with whole milk.

 

Panel 3: Row three. Horizontal rectangle. Same shot. Bruce Wayne is not looking toward Lynn.

 

LYNN: Here’s your drink, sir.

 

Panel 4: Row four. Horizontal rectangle. Same shot. Bruce looks in Lynn’s direction.

 

BRUCE: What was that?

 

LYNN: This is yours.

 

BRUCE: What is the name on the cup?

 

LYNN: It’s yours. I saw you order it.

 

BRUCE: But what is the name on the cup? I want to make sure I’, not taking someone else’s drink.

 

Panel: 5: Row five. Square. Close up of Lynn’s face.

 

LYNN: Bruce.

 

Panel 6: Square. Close up of Bruce’s face.

 

BRUCE: Bruce what?

 

Panel 7: End of row five, finishing off the page. Close up of Lynn’s face.

 

LYNN: Bruce, this is your drink. I saw you order it. I promise this is yours.

 

PAGE TEN (Three Panels)

Panel 1: Row one. Big square taking up most of the page. Depict a POV shot of someone holding  a customer review on Lynn from the site “Help!” A site where customers can write about the establishments that they eat/drink at and give personal accounts and reviews. It’s pretty similar to another website… The review is from Bruce Wayne. That was his actual name. Luckily, he wasn’t the “Visitor” that Coffee Cat was waiting for, but his scathing review on Lynn, is sure to make the chances of that visitor even greater.

 

The review: I went to Coffee Cat today, the one on Vernon. I don’t go there every day, but I’d say that I frequent the establishment. Normally my experience is quite smooth and pleasant, but I received the worst treatment from their Barista named LYNN!! I ordered a Jag Pumpkin Spice Latte with Whole Milk. LYNN rushed through my drink, letting my shots expire and neglecting to pull new ones. She put too much milk, in the cup, and she neglected to call my name out when the drink was finished. There were a few people waiting for drinks, so I wanted to clarify who the drink was for. But she would not say my name! I just wanted to make sure I was taking the right drink because I understand people just grab whatever is at the end of the counter. LYNN kept assuring me that the drink was mine so I just took it, but I’ll tell you, I order that latte every time I go to Coffee Cat, and that did not taste one bit like the drink that I consume twice a week minimum!! I knew after drinking one sip that it was poorly made, but LYNN had already intimidated me so much with her aggressive reassurance and lingering enraged glances that I decided to just leave it alone. This is the first time I’ve experienced this type of service at the Coffee Cat—hell, ANYWHERE! And it seriously has me considering taking my business over to Eel Espresso. I doubt they treat customers like this…

 

-       Bruce Wayne

 

Panel 2: Row two. Horizontal rectangle.  Close up of “LYNN” in all caps.

 

Panel 3: Row three, finishing off the page. Horizontal rectangle. Close up of the bottom of the page, where it says “Posted 12 hours ago.” And you can see reactions from other customer’s

 

Reactions: I can’t believe this! – Rose M.

I know exactly who you’re talking about. She’s always got a scowl on her face! – Jen F.

Might switch up my coffee exploits too. – Moe H.

I experienced something similar with her. She must not like her job. She was annoyed that I asked her to clarify what was in my drink. I have a dairy allergy. I just like to be sure! She also didn’t call my name out. Glad it wasn’t just me. She must rub everyone the wrong way. – Ray W.

 

PAGE ELEVEN (Four Panels)

Panel 1: Row one. Horizontal rectangle. Medium shot from the point of view where the drink menu is. So a bit higher than the employees, and it should allow for there so e a wide view of the coffee shop. The two employees behind the counter, and Lynn can be seen walking in to the shop.

 

MANAGER TWO: *whispers* There she is.

 

LYNN: Hey, guys!

 

Panel 2: Row two. Horizontal rectangle. POV shot from Lynn’s perspective, looking toward her employees behind the counter. One of the employees is handing Lynn a piece of paper.

 

MANAGER TWO: Hey, Lynn…

 

MANAGER ONE: Lynn, you need to read this.

 

Panel 3: Row three. Horizontal rectangle. Medium shot of Lynn reaching out for the piece of paper.

 

LYNN: Wha—

 

Panel 4: Row four. Horizontal rectangle. Medium shot of Lynn reading the piece of paper.

 

LYNN: Oh…

 

PAGE TWELVE (Eight Panels)

Panel 1: Row one. Small vertical rectangle. Lynn’s face is red and enraged.

 

Panel 2: Small vertical rectangle. Same shot. The paper quivers in her hands.

 

LYNN: That is not what happened!

 

Panel 3: End of row one. Small square. Action shot. Lynn crumbles the piece of paper.

 

MANAGER ONE (OFF): Lynn! You need to calm down.

 

Panel 4: Row two. Horizontal rectangle. Medium shot of Lynn.

 

LYNN: This isn’t how it happened. He lied!

 

MANAGER ONE (OFF): The customer is always right, Lynn. You know that.

 

LYNN: He was staring at me! The entire time! He was making me really uncomfortable. But I wasn’t rude to him. Seriously.

 

MANAGER TWO: Did you call out his name?

 

LYNN: …No.

 

Panel 5: Row three. Square. Close up of Lynn.

 

LYNN: But that’s because I thought he was trying to pull some joke! Did you see his name?! It said Bruce Wayne!

Panel 6: Square. Close up of Lynn.

 

LYNN: I’m not calling that out just to gratify some customer’s dumb sense of humor.

 

Panel 7: Square. Medium shot of the two employees behind the counter.

 

MANAGER ONE: Well, what about Ray? He commented on Bruce’s post. Saying you didn’t call his name out either. What’s your excuse for that?

 

Panel 8: End of row three, rounding off the page. Square. Close up of Lynn.

 

LYNN: He knew what he ordered! He kept testing me to see if I put all the right stuff in his drink. I know how to do my job!

 

PAGE THIRTEEN (Four Panels)

Panel 1: Row one. Big square taking up most of the page. Medium shot of Lynn from the perspective of her co-workers behind the counter.

 

MANAGER ONE: Lynn, whether he was testing you or not, the customer is always right. It is our job to make sure they’re happy and on their way.

 

MANAGER TWO: We can’t stand up to them. Unfortunately, they have the power.

 

MANAGER ONE: Now remember, we could have as visitor from regional stopping by any day now, we need to be doing everything by the book.

 

MANAGER TWO: And with these bad reviews, odds are its going to happen sooner rather than later.

 

Panel 2: Row two. Horizontal rectangle. Medium shot of Lynn’s co-workers behind the counter from Lynn’s perspective.

 

MANAGER ONE: You’re the quickest at making drinks, Lynn. But you need to elevate the other aspects of your job, otherwise we are going to have to write you up.

 

Panel 3: Row three. Small horizontal rectangle. Close up of Lynn. She looks mad.

 

MANAGER TWO (OFF): Is that understood?

 

Panel 4: End of row three, finishing off the page. Small horizontal rectangle. Close up of Lynn. She looks defeated.

 

LYNN: Yes.

 

MANAGER ONE (OFF): Don’t forget to smile.

 

PAGE FOUTREEN (Eight Panels)

Panel 1: Row one. Small Horizontal rectangle. Close up of Lynn. She smiles.

 

LYNN: Kitty vanilla latte.

 

LYNN: For Natasha.

 

Panel 2: End of row one. Small horizontal rectangle. Close up of Lynn. Her smile is a little less.

 

NATASHA (OFF): Did you put vanilla in this?

 

Panel 3: Row two. Small horizontal rectangle. Close up of Lynn. Her smile is a little less.

 

LYNN: Robert!

 

Panel 4: End of row two. Small horizontal rectangle. Close up of Lynn. Her smile is a little less.

 

ROBERT (OFF): This was supposed to be iced?

 

Panel 5: Row three. Small horizontal rectangle. Close up of Lynn. Her smile is a little less.

 

LYNN: Carol!

 

Panel 6: End of row three. Small horizontal rectangle. Close up of Lynn. Her smile is barely there.

 

CAROL (OFF): How many pumps of caramel did you put in here? I only wanted a half of a pump.

 

Panel 7: Row four.  Small horizontal rectangle. Close up of Lynn. Her smile is gone.

 

LYNN: Peter Parker!

 

Panel 8: End of row four, finishing off the page. Small horizontal rectangle. Close up of Lynn. Her smile is gone.

 

PETER PARKER (OFF): That’s nondairy right?

 

RANDOM (OFF): Could I just get a cup of water?

 

PAGE FIFTEEN (One Panel)

Panel 1: Splash page. Another review from “Help!” POV shot. Someone should be holding the printed out piece of paper. This one is written by Peter Parker.

 

“Went to Coffee Cat today. Boy do I love that place. The service is top notch. I’m always reluctant to give out my name because people don’t take me seriously. But Lynn, the Barista with cat like reflexes, made my drink in record time, and when I heard my name I knew I was good to go. Still, though. I don’t like to take any chances so I had to double check with her to make sure the drink had no dairy in it. Don’t want to be soiling myself on the job! I drive for Luber! Anyways, she was very helpful and reassuring. Definitely will be back. I highly recommend this place and this Barista!

 

-       Your friendly neighborhood Luber Driver!

 

She was great with my drink as well – Natasha R

 

She detailed her process to me. Great gal – Robert L

 

This barista made my day. My drink is very particular and she made it perfectly. – Carol W

 

She didn’t even make me wait in line for water. She knows in her heart the customer is always right!! – Wardell C.


Excerpt from "Vagabond" a comic book

PAGE TWELVE (Splash page)

Panel 1: It is a wide shot from above looking down angular at the scene like a parent would his small child. In the panel. Depict the same scene that you’ve been depicting, of the people fighting, but this time, water is shooting out of hoses from the left and right side of the page. It hits everyone. The water pressure is extremely high, like that of a firehose, so it knocks people to the floor or against the wall on impact. Octavius, still standing close to the woman with the saggy breasts, has a stream coming straight for him.

SFX:

FSSSHHHH!!

NARRATION:

Some people might think that losing your responsibilities lifts a heavy burden from your shoulders.

NARRATION:

That when you only have to focus on yourself, life is easier.

 

PAGE THIRTEEN (Five Panels)

Three vertical panels taking up the top half of the page.

Panels 1-3: Draw as if this is one horizontal panel, borders will be added later to give the effect of it being three separate panels, with the water traveling through them. Depict a medium shot of Octavius and the woman, turning their bodies toward the streams of water in hopes of moving out of the way. They are all the way to the left of the panel, and the water has streamed from the right, to the left end of the middle frame, being extremely close to Octavius and the woman with the saggy breasts.

SFX:

Fssshhh

SAGGY BREASTED WOMAN:

I’m gonna see my grandson!

NARRATION:

I don’t believe that.

NARRATION:

Relationships and those close to us are a reflection of who we are.

 

Panel 4: Small horizontal rectangle in the middle of the page, leaving blocks of white space on both sides of it. Extreme close up of Octavius’ eyes, lower forehead and upper nose.

OCTAVIUS:

Oh shi--!

NARRATION:

Without that…

 

Panel 5: Horizontal rectangle. Complete blackness.

 

NARRATION:

We’re blind.


Excerpt from "Off brand" a graphic novel

Pages Six-Seven

Panel 1: Splash page with one large sized horizontal rectangle, with room for two medium square panels underneath it. At the bottom. The splash page is a POV shot from Mama’s perspective, looking at the person who has come to visit. Depict a giant clear plastic bag with limbs. You can put him in a suit if you want. Just make him look professional. His eyes should be at the top of the bag, the part that zips, and his mouth and other facial features can be however far down you want to put them.

Narration: Either you’re Chosen,

1. Lock: Lock. Zip Lock.

Panel 2: Horizontal rectangle. POV from Lock’s perspective. Medium shot of Mama. She is grinning profusely.

Narration: Or you Expire.

2. Mama: Lock! Mr. Lock. To what do we owe this uh, pleasure?

Panel 3: First medium square panel. Close up shot on another Glory-O. So close up you can’t even tell he’s a Glory-O. The only tell should be the ridges and grooves in his cookie exterior. His eyes closed.

3. Lock: I’m here for your son.

Panel 4: Same shot as panel 3, but now the Glory-O’s eyes are wide open.

4. Lock: I’m here for Scotti.

Narration: I don’t want to believe that.


All contents Copyright 2019 by Morgan Hampton. All rights reserved. All characters featured and the distinctive likeness thereof are trademarks of Morgan Hampton. The stories, characters, and events herein are fictional. Any similarities to persons living or dead are entirely coincidental.