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Page 1: Page is black at the top half with fade to light towards 1/3 way down, city at bottom third of page. Light starts to break over the horizon. Think of a sunrise where the sun doesn't want to wake up. It's groggy, hung over and desperately needs some coffee and whiskey. A few beams of light cut through the many buildings, spreading as far and wide as they can. Intro 2nd para reads out from the top of the page, up in the sky. Last line sits at the bottom of the page. Text: Munk's Block Thought NarrationAt the top dark bit of the page: "Every day is the same. Forgetting where you are, where you've been, where you're going. Mostly forgetting why you're doing any of it in the first place." At the bottom, over the city-scape: "Why are we here? It becomes a rather moot question when you're looking down the barrel of a .45. You want an answer to your existential quandary? Take a bullet and see if you don't understand it then. That's usually when I'm called in, postepiphany." NOTE: I think I like your layout better, where the page is separated into the three diff panels. We just need more differentiation between panels 1 and 2. PAGE ONE (3 panels) Panel 1. We see a black panel as the sunlight has not yet reached this high in the sky. MUNK: Every day is the same. Forgetting where you are, where you've been, where you're going. Mostly forgetting why you're doing any of in the first place. Panel 2. The sunbeams seep into the sky like light shinning into a pool of brackish water. Mist and smoke rise from the city below, intermingling with the inky sky. MUNK: Why are we here? It becomes a rather moot question when you're looking down the barrel of a .45. You want an answer to your existential quandary? Take a bullet and see if you don't understand it then. That's usually when I'm called in, postepiphany. Panel 3. Cityscape spreads across the bottom panel as smoke and steam rise from the rooftops. Sunbeams pierce into the persistent darkness of the city's bowels.

Page 2 & 3: Wide shot taking up the top half of both pages, maybe between half and 2/3s, it's the sunrise city scape. 1st panel on bottom section closes in on a street, we can barely discern a figure leaving a door way. It's a narrow street, two lanes, buildings towering high over head. It looks like a moderate condition tenement. Decent enough neighborhood for such a shit town. 2nd bottom panel, camera swoops in closer, looking down from right around the tops of the buildings, think of pulling open a patch of tall grass with your hands while you're looking for your car keys. The figure is crossing the sidewalk and starting to angle off to the one car parked on the opposite side of the street. A flash erupts from the alley way behind him. 3rd Panel, the figure staggers and drops to his knees. 4th Panel, another flash erupts from the alley and the figure's head is jerked, his body is partly turned from the impact; half of his head is blown off, right side of his head. 5th Panel, another flash erupts and the other half of the figure's head is blown off. 6th Panel, the figure lays dead, his body dropping off the sidewalk into the street. Can barely discern the blood and brains sprayed out in front of him. Note: No sound effects or text of any sort for this bit. Just try to use the imagery to display the motion. And once the camera reaches the top of the roofs in the 2nd bottom panel, looking down at the street, hold the camera in that position for the rest of the panels. PAGE TWO & THREE (7 Panels) Panel 1. (Two Page Layout) We see the city sprawling before us with sunlight dashing between the many skyscrapers. The lighting is moody, casting shadows and burning the smoke and smog drifting up from the streets.

Panel 2. Closing in on the city, we start centering on one of the streets off towards the left part of the panel. A figure is barely discernible leaving a door way. Panel 3. Our view dives in to the figure at the bottom left, pulling in to watch from the rooftops as he crosses the sidewalk and heads to a parked car on the opposite side of the street. We see a muzzle flash from a figure hidden in the alley behind him. Panel 4. The walker staggers and drops to his knees. Panel 5. Another muzzle flash erupts from the alley behind him and the walker's head jerks violently as half of it is scattered across the street. The body twists with the bullet's impact, turning his side to the alley. Panel 6. Another flash springs from the alley and the rest of the walker's head is obliterated. The body is kicked out flat from the impact. Panel 7. The walker lays dead in the street, the remains of his head spread out before him.

Page 4: Single panel, hear ringing from the left side of the page. Tall shot of Monk sitting up in his bed, silhouetted against his window. The blinds are drawn, but open, so they cast a series of parallel shadows over almost everything in front of us. It's really a simple shot of Monk's silhouette sitting on the bed and the floor. Throw a few details in, banana peels, booze bottles, roach with a knife in it, whatever. Text: Phone ringing at the top of the page Rings again at the bottom Munk's Block Thought bottom right of page- "Fuck." PAGE FOUR (1 panel) Panel 1. Munk's figure is silhouetted as it sits upright on the center of bed, facing towards the camera. Light seeps through the blinds, casting shadows about the room and barely illuminating the various bottles and filth scattered across the floor. More than a few bullet casings, holes and old cigarettes sit amongst them. An unlucky cockaroach with a bandanna and eye patch is pinned to the floor by a large knife. We hear a phone ringing at the top and bottom of the page. Munk responds to himself. MUNK: Fuck.

Page 5: It's a piece of paper, unless it's online, because then it's an electronic representation of paper. This paper expresses information and ideas, which is an odd thing when you think about it. It's simply an inert mass of matter capable of stimulating mental envisioning of entirely different worlds, many of which are impossible to exist. So this particular piece of paper carries information simulating the existence of a sentient monkey detective who is called by a mafia underboss on the recent murder of their head boss. I suppose he'll have to glimpse the crime scene and check out the body in the morgue. Would the cops let him do this? I think they may have to. Although I'm not sure about the crime scene part. Maybe he just

punts the cop in the balls when he tries to stop him. Should the cops be pigs or is that too predictable?? Page 5: Panel 1, top left of page, single square, same camera position of bed silhouette in front of window. Munk walks to left of panel, going for the phone as it rings again. Panel 2, background of page, view of silhouetted bed, maybe Munk's tail/back is visible while he talks on the phone. Munk's word bubbles drift in from left side of page. Panel 3, small panel, same size as p1, bottom right of page, same view of bed's silhouette. Munk walks back in front of the window, crossing to the right side, just show a view of his back half leaving the window silhouette. Munk's thought block at bottom right of page. Text: Phone rings once more in Panel 1 Munk's phone convo (Panel 2, left hand side)- "Yeah? ...Who? ...Yeah, I remember. What happened? ...Fuck. Why the hell did they have to shoot him so early? ...Yeah, I'll be there in 20 minutes." Munk's thought block- "Fuck." PAGE FIVE (3 panels) Panel 1. Page 6: Single panel page, view from around 6th floor, looking down the street, long shot. Munk is walking diagonally across the street and away from the camera. Page 7: Panel 1, full page BG. Shot of the crime scene, chalk outline on the pavement, brains/blood still on the street. A single cop is standing guard, whatever animal you want, boar, pig, dog, cat, human, neutral, blob, I don't know. Something really generic. He has his back to Munk who is approaching from behind. Panel 2, Medium sized panel, right side of page, around half way down, close up on cop's torso/head as he hears Munk approaching, pique his ears and have him turning his head/looking to the side. Panel 3, medium size, bottom left of comic, somewhere between 1/3 and 1/2 the page wide. Munk still walking up to the crime scene, cop is turning and holding a hand up, begins to speak: "Hold it, you can't come he-". Panel 4, same medium size, right side of panel 3, close up of cop's face as his eyes water and it contorts in pain. Hear a thud/whump sound. Text: Cop's dialog above/at top of panel 3. Munk's thought block bottom right of page- "Fucking cops..." Page 8: Panel 1, full page BG. Munk squatting next to the chalk outline, looking down at it, cop in foreground (bottom left of page), curled up on the ground, holding his testicles as his eyes tear and he bites his bottom lip hard, he's shaking. Panel 2, small panel, top right of page. Close up shot of chalk outline, angled so it's shown from a little above the neck and down, back towards the alley he was shot from. Munk squatting next to it, tracing a blood trail with his finger, can't see his head, just torso and down. Panel 3, slightly larger, just beneath it, Munk standing next to chalk outline, only see his legs/waist, he's facing the alley. Same camera angle of Panel 2. Panel 4, around same size, again beneath other panel. Same view. Shot of Munk's legs/waist as he walks towards the alley. Note: not much sound in this page. Also, blood spray should be indicative of all 3 rounds fired, including the torso/gut shot that hit him first. Different elevations and positions of target lead to different blood sprays. One smaller one for the gut/torso, at a diff angle, and then a large mess that's still slightly indicative of the minute difference between bullets 2 and 3. Text: Munk's thought block, between panel 2/3- "Shot from..." MTB, between panel 3/4- "here." >>> Shouldn't there be a pool of blood from where it drained out of the neck and chest? Page 9: Panel 1, full page BG. Shot from inside the alley, low angle looking up. Munk is standing at the entrance of the alley. Panel 2, bottom left of page, medium/small. Close up shot of some of the casings, not all three are fully visible. Panel 3, bottom center, aprox same size, close up of Munk's hand/fingers grabbing one of the casings. Panel 4, bottom right, smaller than the other two. Shot from further back in the alley, see a silhouette of crazy rabbit's head watching Munk leave the alley. He's

watching from a door way or something, head is silhouetted against the alleyway entrance. Text: Munk's thought block bottom center of page- "Who would use such a cannon?" Page 10: Panel 1, wide panel, top center of page, heavily shadowed close up of crazy rabbit's evil smile, make him really creepy/insane. Hear a snikt-ish sound, as he draws his knife, right beneath the panel. Panel 2, Full page bg. Shot from behind crazy rabbit, waist down. Cop is laying on ground, holding his balls still, his back is facing crazy rabbit. Rabbit is holding fuck-off big, oooold knife with notched/rusted/blood stained blade in his right hand hanging down just beneath his waist. Munk is very far down the street, turning a corner on the far side of the road. >>> Maybe try swapping which panel is the background and which isn't. Whichever works better Page 11: Panel 1, top left corner of page, around 2/3 wide and about 1/4 - 1/3 tall. Shot angled down, about 45*, towards the Morgue. Large Neon sign on top says "Morgue" with a smiley face with X-ed out eyes and tongue hanging out, like in the cartoons, next to it. Couple of vultures in blood/grease stained white lab coats smoke on the roof. Try to take influence from the animated Jungle Book vultures. Panel 2, full page background, shot of the body covered by a blood drenched sheet sitting on one of those Morgue roller tables. Blood runs off the side of the table at the chest and head wounds. As it dribbles down (thin streams) it sort of pools around panel 3. Panel 3, around 1/3-1/2 page wide, rectangular. Not to tall. Shot of Coroner's face from over Munk's shoulder, staring with those soulless pits of eyes. Text: Convo between Munk and Coroner runs down the right side of the pageC: "Another late death, Munk?" M: "Still don't understand why they can't wait until I've had my coffee to get shot..." C: "Probably because none of them like you. Now come on, he's back here." M: "How did you know who I was here for?" C: "It's not every day a mob boss gets shot in this city. And I know they wouldn't have called anyone else for him." M: "Fair enough... So how's he look?" C: "Dead." M: "So do the rest. What're the details?" C: "REALLY dead. Someone wasn't fucking around with this. One through the right lung, clipped his aorta. The rest took off his head. Based on the hole through his chest, that was one hell of a bullet." M: "Only took three rounds." Page 12: >>> Thinkin maybe add another panel, top left of page, high view down on the two of them talking, maybe Monk has his arms raised or something, he's holding a defensive posture and wearing an unpleased expression, if we do use that panel, have some of th conversation float above the long panel, right side of this panel Panel 1, long panel across the top, shot of Munk leaving the Morgue. Coroner Bill in the foreground watching him leave, both of their backs are to the camera. Conversation finishes beneath the panel Text: Munk/Coroner convo, reads down the right side of the panel C: "Three rounds? New record. Last time I saw a head like that, they had used a double barreled 12 gauge and a machete." M: "...which came first?" C: "First? Well it started off with a rubber duck and a feather duster, to be honest." M: "Feather duster?" C: "And from there they used a cheese grater on his pe-" M: "OK. Ok. Sorry I asked." C: "But I haven't even gotten to the weed whacker and gas can." M: "Next time, Bill! Next time!" Panel 2, Full page bg panel, shot of Munk leaving the Morgue, camera angled up, looking at him with the Morgue towering behind. Text: Munk's thought block, bottom left of page- "Goddamn Bill. I gotta quit talking to him before breakfast..." Panel 3, Munk walking down the street, off to the right. Text: Munks thought block, bottom right of page, b/r of panel- "Now who would need that kind of gun?" >>> Not sure about the dialog. It's likely to change. Page 13: Fuckin unlucky 13, I can't think of SHIT!

I think he should see Videl, because I think Videl is a gun runner. If anyone knows where to get a cannon or who's looking for cannons, it'd be Videl. Page 13: Panel 1, small panel, top right, same view of where Munk walked down the street from previous page, but a shot of Crazy Rabbit following him. Panel 2, long panel, taller than panel 1 (but not too tall), left side of page, outstretched hand pulling a pay phone receiver off of its cradel, have a shot of the hitter's bust, almost, about chin down to chest. Panel 3, Full page bg, close up of Crazy Rabbit's chest and head, talking on the phone Text: Crazy Rabbit into the phone, use seperate boxes for each piece of dialog?: Yeah... Munk's on it... Tailing him already... Just some pig... He's dead... The pig was free, but Munk's going to cost extra... Don't worry, he'll feel everything. Page 14: Panel 1, full page background: Videl (the Boar) sits sleeping in his favourite chair with his feet propped up and head drooping to his chest. A shotgun or assault rifle sits on his lap and around him are strewn various weapons and pieces of weapons. The TV in front of him is still on, airing the ending to some low-budget 20yr old action movie with a lots of blood and Ninjas carrying lasers. Monks voice comes in from the top left of the scene Monk: ...Videl? Panel 2, medium size, top right: We see over Videl's shoulder as Monk's head peaks in through the front door. Monk calls out to Videl loudly in a text box just beneath the panel Monk: Videl! Panel 3, Same size as P2 and beneath it: Cut to a close up of Videl's face as his eyes snap open and he jerks awake. Videl speaks in a text box beneath the panel Videl: Wha-?! Yes? MUNK! Panel 4, same size, beneath P3, Videl bounds out of his chair and approaches Munk with open arms. He looks ready to squeeze the life out of him. Videl: Where have you been Munk?! You never stop by anymore. Busy with all the cats and cheating husbands?? AH HAHA HAHA!! Panel 5, long panel, near page width, bottom of page: Videl is dragging Munk to the back of his store with his arm clasped tightly over Munk's shoulders. Text, Videl: Come on, Munk! Sit! Relax! I'll get you a drink. Page 15: Panel 1, Medium/Small, Top Left: We see a view of Videl leading Munk into the back room through the window. Can barely discern their voices at the top of the panel. Munk: -was killed with a serious cannon. I'm talking something shooting .460 Magnum rounds, but an auto. Videl: Looks like he made an impression. Who did they need a gun like that for? Panel 2, Medium/Small, right, about 1/3 the way down: View of the window, pulled further back to make out more of the shot. The Crazy Rabbit's shadow is cast over the window and side of the building. Munk (growing smaller and fading out): That's what I was hoping you could he*****.... Panel 3, Full page Background: View from inside the back room, Munk and Videl are seated at a table with a bottle of booze sitting between them. Munk is holding his glass and Videl's is sitting empty on the table as he reaches for the bottle. Both are very startled to see the crazy rabbit jumping through the window carrying his knife in one hand and a tremendous automatic in the other. The room is showered with glass and both are reacting to shield their faces with their arms. Page 16: Page is divided in horizontal thirds Panel 1, top, Crazy Rabbit fires two shots at Munk as he reels forward from his landing upon the table. The table is starting to tip forward from the weight of his impact. Munk is dropping to his left and drawing his gun from inside his jacket with his right hand. The rounds trace down the wall above his head. Videl has grabbed the booze bottle and is beginning to lung at the rabbit. Panel 2, middle: Munk fires a round into the back of the table, blowing off the top left corner of it as it flips up on its side. The Crazy Rabbit rolls forward and slashes at Videl's stomach with his knife as he smashes the bottle against the table just over his head. Panel 3, bottom: Munk is scrambling to his feet behind the table while the CR comes up from his roll, starting to turn and bring his gun around on Videl just in time for V to lung with the broken bottle at him. Page 17:

Full page shot, very detailed, view from behind Videl. We see Videl's hand driving the broken bottle into the Crazy Rabbit's eye. CR is reeling back into a wall and screaming as blood spurts out. Page 18: Full page shot, details!!! View from behind/beside CR as he lays slumped back against the wall and on the floor, bottle is still sticking out of his eye. Videl is looming over him, moving his hands to his right side lower ribs where CR is shooting him, one round. The bullet tears a chunk of flesh off his side, but only skims the ribs. Munk is coming from behind, around the table with his gun out, surprised look upon his face? Page 19 (5 panels, 4 staggered/off set boxes, half page width and just under 1/3 page height each, then one long panel covering the bottom third of the page and making up the background): Panel 1, medium, top left of page, View from behind/beside Munk. Munk is moving past the table with his gun up. He sees the CR rolling to CR's right (away from Munk) as Videl's foot crashes into the wall where CR's head used to be. His foot gets stuck in the sizable hole he makes. Panel 2, medium, top right, slightly lower, view from behind/beside Munk still. Munk lunges forward, firing a round into the door way as he misses CR running through it. Videl is trying to jerk his foot out of the wall and swearing. Panel 3, medium, midd left, staggered, view from beside Munk. Munk jumps over Videl as he falls back from having ripped his foot out of the wall and fires another round through the door way at CR Panel 4, medium, midd right, staggered, view from behind/beside Munk as he rushes through the back room after CR. We see CR running through the back door into an alley way, having turned his upper body to fire a round off at Munk that flies just to the right of Munk's head. Panel 5, wide panel, full page bg, view from down an alley, camera is low and looking up at CR as he charges down the alley (towards the camera) on the left half of the panel, we see Munk in the background, leaning out of the door way and firing repeatedly. Some of the bullets hit CR and some hit pavement/trashcans/a cat/hobo/whatever. Page 20 Panel 1, full page background oriented to top left of page, fills 2/3 of page space leaving a 1/3 strip down right hand side and another 1/3 strip across the bottom View of Videl sitting on the floor, clutching and looking at his side as blood trickles out of it. Munk stands in the doorway, putting his smoking gun back into the holster under his jacket as he walks back into the room. Text: Videl- Did you get him? Munk- A couple of times... Panel 2, 1/3 page width, 2/3 page height Videl is being helped to his feet by Munk while he rips his shirt sleeve off. Videl- And he got away? Munk- Well if someone hadn't gotten himself shotVidel- If someone would use a real goddamn gun! Panel 3, 1/3 page height, full page width across the bottom Videl is tying the cloth around his waist, covering the wound. Munk walks him out to the front of the store. Table is still lying on its side, window broken, glass everywhere. Blood on the floor, bullet holes in the walls accordingly. Munk- Jesus! We'll get him, don't worry. Videl- Bet your ASS we'll get him! Munk- In the mean time, you need a doctor. Videl- I've had worse...

The Jungle: Original Version  
The Jungle: Original Version  

The original comic script of The Jungle before extensive story changes. Still farmed for ideas and information.