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