MetaMan
11-25-2003, 09:34 PM
Finally got around to working on this. I started the "second issue" a few months back but didn't have time to work on it. But I added the last seven pages over the past week or so.
So, here are the first 12 of 22 pages. Enjoy!
Previously in The Girls... (http://www.penciljack.com/forum/showthread.php?s=&threadid=30362)
PAGE 1 (six panels)
PANEL 1- It’s fairly dark outside. A “corner shot” of a sports bar/restaurant. There are several people walking past it as well as standing in front of the bar. The ones standing in front of the bar, look to be having a good time; laughing, talking, looking fairly expressive.
CAPTION: Boston, Massachusetts.
CAPTION: “Don’t worry about it. I’ve got you covered”
PANEL 2- Inside the sports bar. A slight bird’s eye view of the bar. It’s packed, with every available booth filled with four or even five people. There are also tables in the middle of the restaurant, some with up to six people per table. Then there’s the bar, towards the top of the panel. There are no available seats at the bar. There are about twice as many people standing along the bar as there are people sitting. Everyone appears to be having a good time and is dressed for the occasion. Except for one booth, where everyone (five guys) are dressed in suits.).
PANEL 3- Fairly close-up shot of a man with a glass of beer in his hand, looking across from where he’s sitting. He looks to be in his early forties. Another man (mid to late thirties) is sitting next to him, trying to talk on his cell phone.
MAN #1 (with the beer): There’s an ATM outside or we can wait until we get back to Chicago Sunday night. It doesn’t matter.
PANEL 4- Similar to panel 3, except the man with the beer is now turned to the man with the cell phone and is yelling at him.
MAN #1: Get off the #$!@ing phone! He’ll call ya tomorrow!
PANEL 5- Similar to panels 3 & 4. Both men are looking at each other. Man #1 has a devilish grin on his face while Man #2 has a blank look on his face, still holding his cell phone up to his ear.
PANEL 6- The man with the beer is looking forward, towards the viewer/across the table at the others in the group. He has a sarcastic, smug look on his face, somewhat holding up his glass of beer. The man on his cell phone is looking up towards the ceiling, adjusting his tie.
MAN #2: Honey, I’ll call you back, okay? Yup. Ass whooping time.
PAGE 2 (six panels)
PANEL 1- A distance away from the group, a man (late thirties) is at the bar on his cell phone. Off in the distance, the two men are mock fighting each other.
MAN: C’mon, c’mon. Pick up.
PANEL 2- Close-up shot of the man looking back towards the fight.
MAN: Man, I can’t take those clowns anywhere.
PANEL 3- The man is now looking the opposite way, towards a woman next to him, while he’s still on his cell phone. A woman (late 20’s/early 30’s) with wavy blonde hair, wearing a revealing dress, is standing next to him, having a drink. She’s staring right at him.
WOMAN: You aren’t from around here, are you, stranger?
MAN: What gives it away?
PANEL 3- A close-up of the woman’s mouth.
WOMAN: Say “No-mah”.
PANEL 4- A close-up of the man’s eyes, looking somewhat unsettled.
MAN: Nomar..?
PANEL 5- The woman now has her arm around the man, while the other is placing the drink on the bar, behind her. The man looks extremely uncomfortable, nearly dropping the cell phone.
WOMAN: Ah, a mid-westerner. I love the accent. Cleveland?
MAN: Ch—Chicago.
WOMAN: Even better. And these shoulders… They are big. What’ll it take for a girl like me to find out about all those other… big things.
MAN: I’m a married man. I—I was… That was my wife on the phone. I’m… married.
PANEL 6- A P.O.V. from the man, looking at the woman (the side of his face is visible and shadowed some). The woman now has both arms around his neck. She looks fairly loose and wasted.
WOMAN: So am I. But not tonight.
PAGE 3 (seven panels)
PANEL 1- Medium shot; the man appears to be stepping backwards away from the woman, holding his cell phone up nearly eye level. The woman’s arms aren’t completely around the man and she looks as if she’s losing her balance.
WOMAN: See—no ring. I’m off tonight. I’m—
MAN: Ma’am you’re drunk. Let me call you a cab or—or your husband.
WOMAN: I told you—
PANEL 2- Medium shot of the woman who is now furious. She looks as if she’s trying to pound on the man with both balled up fists. The man is closer in the panel, backing away.
WOMAN: I’M OFF TONIGHT!!!
PANEL 3- The woman is visible from her shoulders to her knees, and is much closer up in the panel, and is storming off. The people seated at tables around her are looking towards her with shocked looks on their faces. The man is in the far off distance, still holding his cell phone, looking stunned.
WOMAN: Damned loser. Some folks don’t know how to have fun no more.
PANEL 4- Medium shot; the man is now joining the rest of his co-workers in the booth.
MAN #2: What the hell was that all about?
MAN: She wanted to sleep with me.
MAN #3: And you said no?
MAN #1: She was completely wasted—and married—as I am.
PANEL 5- P.O.V. shot of the man looking at his co-workers/buddies. They all have their own “yeah, whatever” gestures. Some are rolling their eyes, others are laughing; you know, the “yeah, whatever” gesture.
MAN #2: Aw, please.
MAN #3: Gotta take ‘em up on the offer sometimes, no matter how rung out they are.
PANEL 6- Slight bird’s eye view of the group. The man (#1) looks somewhat upset while the others are back to talking and drinking. Man #4 has his head back and is taking a shot straight up.
MAN #4: Married, eh?
PANEL 7- Close up of man #1.
MAN #4 (no tail): Glad my wife ain’t like that.
PAGE 4
SPLASH PAGE: Nancy is close up in the panel, kneeling on a bed, towards the end of it. She has a sheet wrapped somewhat around her, but her shoulders are visible, as well as her legs (her thighs down to her knees). She has a worried look on her face and appears to be crying; her makeup is running down her face. Also laying on the bed is the man she met at the end of the last story who is asleep. The room is dim lit, too.
THE GIRLS: Part 2
CAPTION: 6:49am.
PAGE 5 (four panels)
PANEL 1- Fairly large panel. It’s a panoramic view of downtown Chicago, off of Lake Michigan.
CAPTION: 8:01am.
PANEL 2- An angled bird’s eye view of Jan’s kitchen (fairly large panel). Standing over a stove is Charlotte, fixing breakfast. The kitchen table (center of the panel) is filled with food (pancakes, eggs, sausage, toast, etc.). A radio is also on the kitchen table. The kitchen looks decent, not the best looking kitchen, but it’s fairly decent.
JAN (tail towards the kitchen doorway on the right of the panel): Mmm, smells g—
PANEL 3- Close up of Jan with a shocked look on her face.
JAN: Good Lord!
PANEL 4- Medium close up of Char, with her back to the viewer, but she’s turned some and is looking back towards the viewer (over her shoulder) with a slight smile on her face as well.
CHAR: Nearly had to scrub those pots and pans with a stick of dynamite. When’s the last time you had a home cooked meal anyway?
PAGE 6 (seven panels)
PANEL 1- A shot of Jan’s apartment building.
CAPTION (Jan): Oh, my God, Char…
PANEL 2- Close up of Jan. She almost looks like she’s in pain or worried, but she’s not. She has her eyes closed and she’s biting her lower lip.
JAN: Oh-my-God.
PANEL 3- Medium close up of Char, smiling, with her fingers interlaced. She has a plate of food that’s barely been touched in front of her.
CHAR: Haven’t lost my touch, have I?
PANEL 4- Worm’s eye view of Jan (from the table) with a surprised look on her face/wide-eye’d expression.
JAN: You’ve gotten better! Not that it was horrible before or anything.
PANEL 5- Similar to panel 3, except Char is looking towards her right (out of the window apparently) with a more serious look on her face.
CHAR: Well, I haven’t had much of a reason to cook as of late. For myself, sure, but since Jack…
PANEL 6- Close up of Char, looking downward, staring off into space.
CHAR: It’s been a struggle to do all basic essential things in life.
PANEL 7- Medium close up of Jan, prepared to shove her fork in her mouth, staring forward at Char.
PAGE 7 (five panels)
PANEL 1- Medium close up of Char, washing dishes in the kitchen. Jan is in the far off distance, still sitting at the table, watching Char.
PANEL 2- Close up of Char, looking down with a slight smile on her face.
CHAR: Either those pancakes are weighing you down like lead or you’ve got a list of questions to ask me.
CHAR: You’re just not sure in which order to ask them.
PANEL 3: Medium close up of Jan with her hands around her coffee mug, staring down at it.
JAN: No, I… Was just wondering…
CHAR (from panel 2): Okay, I’ll pick one. Question #3.
JAN (from panel 3): Fine.
PANEL 4- Close up of Jan, now looking forward [towards Char], running her right hand through her hair.
JAN: How do you do it?
PANEL 5- Medium close up of Char looking down, washing dishes; she has a slight smile on her face.
JAN (off panel/tail): After all these years, you haven’t changed a bit. You can still take me under your wing and look after me like a kid sister. I can feel like complete crap and you still come through without even really trying.
PAGE 8 (five panels)
PANEL 1- Char is closer in the panel. She’s still looking down but has a disturbed look on her face
JAN (off panel/tail): And as always, it’s a home cooked meal that makes me forget about all my problems.
PANEL 2- A close up of Char’s hands. Her left hand is in full extension while her right is resting on it; one finger is touching her diamond ring.
PANEL 3- Medium shot of Jan staring (apparently) at Char. She has a concerned look on her face.
PANEL 4- (fairly large panel) Profile shot of Jan hugging Char from behind. Char’s head is slightly tilted towards the ceiling, trying to keep tears from falling (though she has her eyes closed). Jan is resting her chin on Char’s shoulder.
CHAR: I’m sorry, sweetie. It’s been so long since I’ve been in the kitchen preparing anything for anyone other than myself. It’s just that… Every little thing reminds me of Jack these days. Either it’s the roar of a car engine similar to his ’76 Oldsmobile to a strange man with a decent comb over. Everything I see just send visions fluttering through my head. Even some of the silly habits I’ve acquired remind me of him.
JAN: You’re human for Christ sakes. We’re not emotionless androids. No matter how much we try not to let things bother us, they do in some fashion. We just have to deal with it. Listen, how about you let me reprise my role as the emotional wreck and you take five, okay?
PANEL 5- Char is closer in the panel, exiting the kitchen—probably from her waist to her knees is visible as Jan is farther off in the panel, staring at Char exiting.
JAN: You’re probably still jetlagged. Get some rest, we’ll talk more later. There’s an extra comforter in the hallway closet if you need it.
PAGE 9 (six panels)
PANEL 1- Nancy is seen exiting an alley. She’s holding a handkerchief in one hand while fixing her purse with the other. She’s wearing a loud-colored, long-flowered dress and looks upset. A man is visible in the far distance behind a large garbage dump. He looks kind of scummy and looks fairly upset.
CAPTION (Char): “Will you be late tonight? I’ve got the perfect depression-cleansing meal in mind to set the whole psyche ward straight.”
CAPTION (Jan): “Unless the city starts acting up and sends out all the weirdos at once, I shouldn’t be any later than eight o’clock. But this is Chicago. Better make it midnight.”
NANCY: Disgusting jerk…
MAN: Hey! Hey, b*@$%! That wasn’t worth forty bucks! You new at this or somethin’?!
PANEL 2- Close up of Nancy, looking back towards the man over her shoulder; the exit of the alley can be seen as several people are walking on the sidewalk.
NANCY: Well, if you had more to work with maybe we’d both be happy.
PANEL 3- P.O.V. shot; the side of the man’s face is visible (left hand side of the panel) as seen walking away.
MAN: Bout time for you to retire, golden girl.
NANCY: And it’s about time for you to grow up, stumpy.
PANEL 4- Worm’s eye view of an extremely tall building.
CAPTION (Nancy): “Good Morning, Mrs. Austin. Is there anything I can do for you today?”
PANEL 5- Medium close up of Nancy, apparently leaning over the secretary’s desk. She looks extremely upset.
NANCY: Don’t you see my name down there? I made the damned appointment now get on the phone and tell him I’m here.
PANEL 6- Medium close up of the secretary, with a perplexed look on her face. She even has one finger up to her mouth (in mock confusion) to egg Nancy on.
SECRETARY: Now, surely, Mrs. Austin, you don’t use such language around your children.
PAGE 10 (five panels)
PANEL 1- Fairly wide panel/panoramic view of the waiting room/lobby to Mr. Bolante’s office. The secretary has her arms crossed and has a devilish smile on her face, while Nancy is still bent over, leaning on the secretary’s desk, pointing a finger at her. Mr. Bolante (far right of the panel) is seen exiting his office.
SECRETARY: Especially little Alicia…
NANCY: Excuse me?! I’ll tell you once, lady: don’t ever mention my daughter’s name, or so help me God—!
MR. BOLANTE: Uhm, Mrs. Austin? Nancy?
PANEL 2- Close up of Nancy, looking over her shoulder towards Mr. Bolante. The secretary can be seen still smiling devilishly.
NANCY: Oh..! Bill… Mr. Bolante.
PANEL 3- Slight bird’s eye view, just over the entrance/exit of Mr. Bolante’s office. Nancy and Mr. Bolante are a lot closer up in the panel than the secretary, that is much farther back. Mr. Bolante is looking back towards the secretary as Nancy walks past him, still looking upset yet relieved.
NANCY: Thank you for meeting with me…
PANEL 4- Mr. Bolante’s lower body is closer in the panel, [apparently] walking back around his desk. Nancy is farther back, right in front of the door, with her arms crossed. She still looks upset.
NANCY: … Finally.
PANEL 5- A fairly large panel; a shot of Mr. Bolante’s office. It looks pretty nice, decked out with all the latest office designs. Mr. Bolante is about to sit down behind his desk.
MR. BOLANTE: So, two visits within twenty-four hours. Did I happen to miss a zero on the check? If that were the case, that little discussion between you and my secretary wouldn’t have been as civil as it already was.
PAGE 11
PANEL 1- Close up of Nancy’s hand, laying an envelope on Mr. Bolante’s desk.
NANCY: Check and mate.
PANEL 2- Medium close up of Mr. Bolante, opening the letter and putting on his glasses.
MR. BOLANTE: What is this..?
PANEL 3- (shot behind Nancy) Nancy has her compact disc open and she’s putting on lipstick. Her reflection is clearly shown through the mirror.
NANCY: I mean business, Bill. And if there’s anything a businessman like yourself should already know is to not stall a businesswoman.
PANEL 4- A close up of Mr. Bolante’s eyes; the top of the piece of paper is visible. The word “DIVORCE” is in bold and can be seen through the paper (but spelled backwards of course, since he’s reading the front of the paper).
NANCY (off panel/tail): I went ahead and filed divorce papers. I advise you to do the same and end that sham of a marriage as soon as possible. Things can only get uglier if she finds out about us…
MR. BOLANTE: … And Alicia.
PANEL 5- A profile shot of Mr. Bolante. He’s leaning back in his chair as his right hand covers his eyes.
MR. BOLANTE: My God, Nancy. She’s fighting cancer. In this state… If I divorce her now, it would kill her. I wouldn’t dare put my children through that. Not now. And the reputation I’d have would kill this company as well.
PANEL 6- Medium close up of Nancy, looking down at her purse (in her lap), putting away her compact disc.
NANCY: I see. I suppose I’m going about this the wrong way.
PAGE 12
SPLASH PAGE- Nancy is now standing before Mr. Bolante, and she’s unbuttoning her blouse, revealing her bra underneath. She has an extremely seductive look on her face.
NANCY: Perhaps a different method of convincing is needed..?
To be continued...
So, here are the first 12 of 22 pages. Enjoy!
Previously in The Girls... (http://www.penciljack.com/forum/showthread.php?s=&threadid=30362)
PAGE 1 (six panels)
PANEL 1- It’s fairly dark outside. A “corner shot” of a sports bar/restaurant. There are several people walking past it as well as standing in front of the bar. The ones standing in front of the bar, look to be having a good time; laughing, talking, looking fairly expressive.
CAPTION: Boston, Massachusetts.
CAPTION: “Don’t worry about it. I’ve got you covered”
PANEL 2- Inside the sports bar. A slight bird’s eye view of the bar. It’s packed, with every available booth filled with four or even five people. There are also tables in the middle of the restaurant, some with up to six people per table. Then there’s the bar, towards the top of the panel. There are no available seats at the bar. There are about twice as many people standing along the bar as there are people sitting. Everyone appears to be having a good time and is dressed for the occasion. Except for one booth, where everyone (five guys) are dressed in suits.).
PANEL 3- Fairly close-up shot of a man with a glass of beer in his hand, looking across from where he’s sitting. He looks to be in his early forties. Another man (mid to late thirties) is sitting next to him, trying to talk on his cell phone.
MAN #1 (with the beer): There’s an ATM outside or we can wait until we get back to Chicago Sunday night. It doesn’t matter.
PANEL 4- Similar to panel 3, except the man with the beer is now turned to the man with the cell phone and is yelling at him.
MAN #1: Get off the #$!@ing phone! He’ll call ya tomorrow!
PANEL 5- Similar to panels 3 & 4. Both men are looking at each other. Man #1 has a devilish grin on his face while Man #2 has a blank look on his face, still holding his cell phone up to his ear.
PANEL 6- The man with the beer is looking forward, towards the viewer/across the table at the others in the group. He has a sarcastic, smug look on his face, somewhat holding up his glass of beer. The man on his cell phone is looking up towards the ceiling, adjusting his tie.
MAN #2: Honey, I’ll call you back, okay? Yup. Ass whooping time.
PAGE 2 (six panels)
PANEL 1- A distance away from the group, a man (late thirties) is at the bar on his cell phone. Off in the distance, the two men are mock fighting each other.
MAN: C’mon, c’mon. Pick up.
PANEL 2- Close-up shot of the man looking back towards the fight.
MAN: Man, I can’t take those clowns anywhere.
PANEL 3- The man is now looking the opposite way, towards a woman next to him, while he’s still on his cell phone. A woman (late 20’s/early 30’s) with wavy blonde hair, wearing a revealing dress, is standing next to him, having a drink. She’s staring right at him.
WOMAN: You aren’t from around here, are you, stranger?
MAN: What gives it away?
PANEL 3- A close-up of the woman’s mouth.
WOMAN: Say “No-mah”.
PANEL 4- A close-up of the man’s eyes, looking somewhat unsettled.
MAN: Nomar..?
PANEL 5- The woman now has her arm around the man, while the other is placing the drink on the bar, behind her. The man looks extremely uncomfortable, nearly dropping the cell phone.
WOMAN: Ah, a mid-westerner. I love the accent. Cleveland?
MAN: Ch—Chicago.
WOMAN: Even better. And these shoulders… They are big. What’ll it take for a girl like me to find out about all those other… big things.
MAN: I’m a married man. I—I was… That was my wife on the phone. I’m… married.
PANEL 6- A P.O.V. from the man, looking at the woman (the side of his face is visible and shadowed some). The woman now has both arms around his neck. She looks fairly loose and wasted.
WOMAN: So am I. But not tonight.
PAGE 3 (seven panels)
PANEL 1- Medium shot; the man appears to be stepping backwards away from the woman, holding his cell phone up nearly eye level. The woman’s arms aren’t completely around the man and she looks as if she’s losing her balance.
WOMAN: See—no ring. I’m off tonight. I’m—
MAN: Ma’am you’re drunk. Let me call you a cab or—or your husband.
WOMAN: I told you—
PANEL 2- Medium shot of the woman who is now furious. She looks as if she’s trying to pound on the man with both balled up fists. The man is closer in the panel, backing away.
WOMAN: I’M OFF TONIGHT!!!
PANEL 3- The woman is visible from her shoulders to her knees, and is much closer up in the panel, and is storming off. The people seated at tables around her are looking towards her with shocked looks on their faces. The man is in the far off distance, still holding his cell phone, looking stunned.
WOMAN: Damned loser. Some folks don’t know how to have fun no more.
PANEL 4- Medium shot; the man is now joining the rest of his co-workers in the booth.
MAN #2: What the hell was that all about?
MAN: She wanted to sleep with me.
MAN #3: And you said no?
MAN #1: She was completely wasted—and married—as I am.
PANEL 5- P.O.V. shot of the man looking at his co-workers/buddies. They all have their own “yeah, whatever” gestures. Some are rolling their eyes, others are laughing; you know, the “yeah, whatever” gesture.
MAN #2: Aw, please.
MAN #3: Gotta take ‘em up on the offer sometimes, no matter how rung out they are.
PANEL 6- Slight bird’s eye view of the group. The man (#1) looks somewhat upset while the others are back to talking and drinking. Man #4 has his head back and is taking a shot straight up.
MAN #4: Married, eh?
PANEL 7- Close up of man #1.
MAN #4 (no tail): Glad my wife ain’t like that.
PAGE 4
SPLASH PAGE: Nancy is close up in the panel, kneeling on a bed, towards the end of it. She has a sheet wrapped somewhat around her, but her shoulders are visible, as well as her legs (her thighs down to her knees). She has a worried look on her face and appears to be crying; her makeup is running down her face. Also laying on the bed is the man she met at the end of the last story who is asleep. The room is dim lit, too.
THE GIRLS: Part 2
CAPTION: 6:49am.
PAGE 5 (four panels)
PANEL 1- Fairly large panel. It’s a panoramic view of downtown Chicago, off of Lake Michigan.
CAPTION: 8:01am.
PANEL 2- An angled bird’s eye view of Jan’s kitchen (fairly large panel). Standing over a stove is Charlotte, fixing breakfast. The kitchen table (center of the panel) is filled with food (pancakes, eggs, sausage, toast, etc.). A radio is also on the kitchen table. The kitchen looks decent, not the best looking kitchen, but it’s fairly decent.
JAN (tail towards the kitchen doorway on the right of the panel): Mmm, smells g—
PANEL 3- Close up of Jan with a shocked look on her face.
JAN: Good Lord!
PANEL 4- Medium close up of Char, with her back to the viewer, but she’s turned some and is looking back towards the viewer (over her shoulder) with a slight smile on her face as well.
CHAR: Nearly had to scrub those pots and pans with a stick of dynamite. When’s the last time you had a home cooked meal anyway?
PAGE 6 (seven panels)
PANEL 1- A shot of Jan’s apartment building.
CAPTION (Jan): Oh, my God, Char…
PANEL 2- Close up of Jan. She almost looks like she’s in pain or worried, but she’s not. She has her eyes closed and she’s biting her lower lip.
JAN: Oh-my-God.
PANEL 3- Medium close up of Char, smiling, with her fingers interlaced. She has a plate of food that’s barely been touched in front of her.
CHAR: Haven’t lost my touch, have I?
PANEL 4- Worm’s eye view of Jan (from the table) with a surprised look on her face/wide-eye’d expression.
JAN: You’ve gotten better! Not that it was horrible before or anything.
PANEL 5- Similar to panel 3, except Char is looking towards her right (out of the window apparently) with a more serious look on her face.
CHAR: Well, I haven’t had much of a reason to cook as of late. For myself, sure, but since Jack…
PANEL 6- Close up of Char, looking downward, staring off into space.
CHAR: It’s been a struggle to do all basic essential things in life.
PANEL 7- Medium close up of Jan, prepared to shove her fork in her mouth, staring forward at Char.
PAGE 7 (five panels)
PANEL 1- Medium close up of Char, washing dishes in the kitchen. Jan is in the far off distance, still sitting at the table, watching Char.
PANEL 2- Close up of Char, looking down with a slight smile on her face.
CHAR: Either those pancakes are weighing you down like lead or you’ve got a list of questions to ask me.
CHAR: You’re just not sure in which order to ask them.
PANEL 3: Medium close up of Jan with her hands around her coffee mug, staring down at it.
JAN: No, I… Was just wondering…
CHAR (from panel 2): Okay, I’ll pick one. Question #3.
JAN (from panel 3): Fine.
PANEL 4- Close up of Jan, now looking forward [towards Char], running her right hand through her hair.
JAN: How do you do it?
PANEL 5- Medium close up of Char looking down, washing dishes; she has a slight smile on her face.
JAN (off panel/tail): After all these years, you haven’t changed a bit. You can still take me under your wing and look after me like a kid sister. I can feel like complete crap and you still come through without even really trying.
PAGE 8 (five panels)
PANEL 1- Char is closer in the panel. She’s still looking down but has a disturbed look on her face
JAN (off panel/tail): And as always, it’s a home cooked meal that makes me forget about all my problems.
PANEL 2- A close up of Char’s hands. Her left hand is in full extension while her right is resting on it; one finger is touching her diamond ring.
PANEL 3- Medium shot of Jan staring (apparently) at Char. She has a concerned look on her face.
PANEL 4- (fairly large panel) Profile shot of Jan hugging Char from behind. Char’s head is slightly tilted towards the ceiling, trying to keep tears from falling (though she has her eyes closed). Jan is resting her chin on Char’s shoulder.
CHAR: I’m sorry, sweetie. It’s been so long since I’ve been in the kitchen preparing anything for anyone other than myself. It’s just that… Every little thing reminds me of Jack these days. Either it’s the roar of a car engine similar to his ’76 Oldsmobile to a strange man with a decent comb over. Everything I see just send visions fluttering through my head. Even some of the silly habits I’ve acquired remind me of him.
JAN: You’re human for Christ sakes. We’re not emotionless androids. No matter how much we try not to let things bother us, they do in some fashion. We just have to deal with it. Listen, how about you let me reprise my role as the emotional wreck and you take five, okay?
PANEL 5- Char is closer in the panel, exiting the kitchen—probably from her waist to her knees is visible as Jan is farther off in the panel, staring at Char exiting.
JAN: You’re probably still jetlagged. Get some rest, we’ll talk more later. There’s an extra comforter in the hallway closet if you need it.
PAGE 9 (six panels)
PANEL 1- Nancy is seen exiting an alley. She’s holding a handkerchief in one hand while fixing her purse with the other. She’s wearing a loud-colored, long-flowered dress and looks upset. A man is visible in the far distance behind a large garbage dump. He looks kind of scummy and looks fairly upset.
CAPTION (Char): “Will you be late tonight? I’ve got the perfect depression-cleansing meal in mind to set the whole psyche ward straight.”
CAPTION (Jan): “Unless the city starts acting up and sends out all the weirdos at once, I shouldn’t be any later than eight o’clock. But this is Chicago. Better make it midnight.”
NANCY: Disgusting jerk…
MAN: Hey! Hey, b*@$%! That wasn’t worth forty bucks! You new at this or somethin’?!
PANEL 2- Close up of Nancy, looking back towards the man over her shoulder; the exit of the alley can be seen as several people are walking on the sidewalk.
NANCY: Well, if you had more to work with maybe we’d both be happy.
PANEL 3- P.O.V. shot; the side of the man’s face is visible (left hand side of the panel) as seen walking away.
MAN: Bout time for you to retire, golden girl.
NANCY: And it’s about time for you to grow up, stumpy.
PANEL 4- Worm’s eye view of an extremely tall building.
CAPTION (Nancy): “Good Morning, Mrs. Austin. Is there anything I can do for you today?”
PANEL 5- Medium close up of Nancy, apparently leaning over the secretary’s desk. She looks extremely upset.
NANCY: Don’t you see my name down there? I made the damned appointment now get on the phone and tell him I’m here.
PANEL 6- Medium close up of the secretary, with a perplexed look on her face. She even has one finger up to her mouth (in mock confusion) to egg Nancy on.
SECRETARY: Now, surely, Mrs. Austin, you don’t use such language around your children.
PAGE 10 (five panels)
PANEL 1- Fairly wide panel/panoramic view of the waiting room/lobby to Mr. Bolante’s office. The secretary has her arms crossed and has a devilish smile on her face, while Nancy is still bent over, leaning on the secretary’s desk, pointing a finger at her. Mr. Bolante (far right of the panel) is seen exiting his office.
SECRETARY: Especially little Alicia…
NANCY: Excuse me?! I’ll tell you once, lady: don’t ever mention my daughter’s name, or so help me God—!
MR. BOLANTE: Uhm, Mrs. Austin? Nancy?
PANEL 2- Close up of Nancy, looking over her shoulder towards Mr. Bolante. The secretary can be seen still smiling devilishly.
NANCY: Oh..! Bill… Mr. Bolante.
PANEL 3- Slight bird’s eye view, just over the entrance/exit of Mr. Bolante’s office. Nancy and Mr. Bolante are a lot closer up in the panel than the secretary, that is much farther back. Mr. Bolante is looking back towards the secretary as Nancy walks past him, still looking upset yet relieved.
NANCY: Thank you for meeting with me…
PANEL 4- Mr. Bolante’s lower body is closer in the panel, [apparently] walking back around his desk. Nancy is farther back, right in front of the door, with her arms crossed. She still looks upset.
NANCY: … Finally.
PANEL 5- A fairly large panel; a shot of Mr. Bolante’s office. It looks pretty nice, decked out with all the latest office designs. Mr. Bolante is about to sit down behind his desk.
MR. BOLANTE: So, two visits within twenty-four hours. Did I happen to miss a zero on the check? If that were the case, that little discussion between you and my secretary wouldn’t have been as civil as it already was.
PAGE 11
PANEL 1- Close up of Nancy’s hand, laying an envelope on Mr. Bolante’s desk.
NANCY: Check and mate.
PANEL 2- Medium close up of Mr. Bolante, opening the letter and putting on his glasses.
MR. BOLANTE: What is this..?
PANEL 3- (shot behind Nancy) Nancy has her compact disc open and she’s putting on lipstick. Her reflection is clearly shown through the mirror.
NANCY: I mean business, Bill. And if there’s anything a businessman like yourself should already know is to not stall a businesswoman.
PANEL 4- A close up of Mr. Bolante’s eyes; the top of the piece of paper is visible. The word “DIVORCE” is in bold and can be seen through the paper (but spelled backwards of course, since he’s reading the front of the paper).
NANCY (off panel/tail): I went ahead and filed divorce papers. I advise you to do the same and end that sham of a marriage as soon as possible. Things can only get uglier if she finds out about us…
MR. BOLANTE: … And Alicia.
PANEL 5- A profile shot of Mr. Bolante. He’s leaning back in his chair as his right hand covers his eyes.
MR. BOLANTE: My God, Nancy. She’s fighting cancer. In this state… If I divorce her now, it would kill her. I wouldn’t dare put my children through that. Not now. And the reputation I’d have would kill this company as well.
PANEL 6- Medium close up of Nancy, looking down at her purse (in her lap), putting away her compact disc.
NANCY: I see. I suppose I’m going about this the wrong way.
PAGE 12
SPLASH PAGE- Nancy is now standing before Mr. Bolante, and she’s unbuttoning her blouse, revealing her bra underneath. She has an extremely seductive look on her face.
NANCY: Perhaps a different method of convincing is needed..?
To be continued...