Presenting the final projects from our final three…

Please note some of the formatting in the scripts is off due to the transition to the website and are not indicitive of the creator’s original scripts.





Script Pages


A 45 year old FATHER MATTHIAS stands at a lectern in an empty cathedral late at night. He’s reading from The Book opened on the lectern by candlelight.  His metallic crucifix necklace hangs in the panel as well and we can notice the pointed end at the bottom of it. FR. MATTHIAS speaks to himself in captions.

CAPTION 1: Prologue

CAPTION 2: I didn’t want to believe Sister Therese, but she was right. And now I’ve placed my life and the lives of every one of God’s beautiful creatures at risk.

We pull back a bit and see that FR. MATTHIAS is still reading from the book and off to the right of the lectern is a small table with a smoking thurible or censer sitting on it. He continues his inner monologue in captions

CAPTION: I must stop reading this book, but I cannot. I feel compelled to go on. Like a low creature without the free will that Our Father has blessed His children with.

FR. MATTHIAS has taken his crucifix off of his neck between panels and now holds it in his right hand. He stares at it and at the still smoking thurible on the table beyond his right hand that’s holding the crucifix. He knows what he has to do. He continues his monologue in captions.

CAPTION: As Paul said: “I take pleasure in infirmities, in reproaches, in necessities, in persecutions, in distresses for Christ’s sake:”

FR. MATTHIAS holds the metal crucifix into the red-hot coals of the now opened thurible and continues his caption monologue.

CAPTION: “For when I am weak…”

In a shadow on the back wall of the chapel, we see the silhouette of FR. MATTHIAS plunging the crucifix into one of his eyes. His head cocked back and his mouth wide open in pain. The crucifix is so hot when it enters that we see smoke coming from his silhouette too. His shadow should look to be in so much pain that it’s a genuine surprise later to find out he’s still alive & kicking. The caption monologue finishes up as FR. MATTHIAS screams out loud from off panel.

CAPTION: “…then I am strong!”



Blacked out panel the width of the page with the name of the book written in white: THE BOOK


A bright, sunny day with not a cloud in the sky. Outside of an old, traditional looking Catholic Church (bell tower, statues of saints, stained glass windows,  etc) several card tables covered with books are set up on a grassy lawn. Nuns and priests are standing behind the tables and talking to some potential customers. Carved into a stone archway over the entranceway to the church is the name of the church: “Saint Patroclus of Troyes”. A sandwich board in the grass reads: “Book Sale To Support Our Church!” A caption in the panel gives us our time setting.

CAPTION: Decades later.

We focus on two of the potential patrons, JULIA & JAMES KIMBLE. JAMES walks behind JULIA and rubs her shoulders while she peruses some of the books on the card tables.

JAMES: See anything good yet?

JULIA: Well let’s see…

JULIA picks up a book in each hand and looks at them. We only see their covers from the back, but even from that angle they look horrible.

JULIA: We’ve got the first volume in this pseudo-science fiction apocalypse series; or this collection of torrid love stories.

JAMES: Ok, ok.

JULIA turns to face JAMES and he holds her in his arms as she looks up at him. They lovingly smile at each other.

JULIA: Don’t you tithe every week? Why do we have to buy books from here too?

JAMES: St. Pat has been my parish since I was baptized. My family grew up in this church. I want to do a little extra to help out

JAMES lets JULIA go, but continues to smile at her.

JAMES: Besides, you read so much, you’re bound to find something here that’s perfect for you if you look hard enough.

JULIA: Just because I’m a big reader, doesn’t mean I’m a book whore, I’ve got standards you know!



JULIA continues walking the lawn without JAMES. In the first three panels she looks at tables to see the books for sale. The first table has a collection of old cookbooks that look like they haven’t been off of a shelf since the Kennedy administration.

The next is a selection of children’s books of Bible stories. Titles like “Our Special Friend”, “The Ten Unbreakable Rules”, and “The Day The Earth Flooded”. All of them have cartoonish illustrations of glassy-eyed white people standing around wearing robes and sandals on the covers.

This is the table that makes JULIA stop. It’s mostly populated by Bibles in various states of disrepair, but on the top left corner is a hardcover Book that looks to have almost the same dimensions as, but is significantly older than the cookbooks in panel 1. It’s about 10” from the top to the bottom of the spine and looks to be at least 1,000 pages. It’s the same Book from the prologue. It is all black with no writing on the spine or cover and no ornamentation at all, aside from a faint, almost imperceptible impression of the Sigillum Dei (just the design, no words) in the leather the cover.

JULIA: Well, this sure doesn’t look like the latest Goofus & Gallant adventure.

JULIA opens The Book to the first page and reads the first sentence out loud to herself.

JULIA:  “Even after running for twenty five years, Candace still couldn’t escape her past.”

JULIA is silent, covering her mouth with her free hand and eyes wide.


JULIA is standing at a card table with a cash register on it and is handing the book to the NUN behind the table acting as cashier for the book sale.

JULIA: Excuse me Sister, but there was no price sticker on this book. Do you know how much it would be?

The NUN looks at the back of The Book for a price but sees none.

NUN: Which table was this book on?

JULIA: The last one, with all the Bibles.

NUN: In that case, five dollars.

JULIA hands the NUN a $5 bill with one hand as she holds The Book in a plastic shopping bag in the other.

JULIA: Thank you very much, Sister.

NUN: And thank you, child. May The Lord bless you!



Later that night, JULIA is sitting up in bed alone reading The Book. She’s mostly under the covers, except for her arms to hold the book and turn the pages. The digital alarm clock on JAMES’ side of the bed reads 7:57 PM. The only light in the room is from the lamp on JULIA’s nightstand.

Identical to the previous panel, except the clock now reads 10:57 PM and JULIA is further along in The Book.

JAMES walks in to the room and JULIA is oblivious to him.

JAMES:  That must be good, babe. I haven’t seen you this into a book in a while.

JULIA continues reading and JAMES is now standing next to her.

JAMES: Jules? Ju-li-a?

JAMES now has his face buried on top of the covers by JULIA’s chest (not motorboating her, just being a goofball) while his hands are tickling her ribs. JULIA is shocked out of her reading and starts laughingly chastising her husband.

JAMES: U.S.S. Julia Kimble, we are entering our final approach and are requesting permission to land!

JULIA: AHH! Jimmy, what are you doing!?

JAMES: Initiating marital relations with my wife, the way the good Lord intended!

Shot of them in bed, JAMES lying on top of JULIA. JAMES is taking JULIA’s reading glasses off of her face. And smiling, JULIA is smiling back.

JAMES: So, do I have permission to land?

JULIA: Yeah, just let me finish this chapter.

JAMES: Don’t tell me you’re turning me down for a book.

Similar framing to last time, bit pulled in a little tighter, more intimate. JULIA is looking in the direction of the lamp.

JAMES: Tell me what is so damn interesting about this book, and if I agree that it’s worth missing out on a night of passionate love making with the man of your dreams and father of your child, then I’ll leave you to it.

JULIA: Well when you put it that way!


Black panel same dimensions as the last two. There is a SFX of the lamp shutting off and a caption with JULIA’s dialogue that will continue in her conversation with her psychiatrist on the next page.


CAPTION: I couldn’t talk to him about The Book, not yet. There was just too much he wouldn’t understand. And I can’t tell him the truth. Not yet.






Page 1

A standard 6 panel layout. We start the story off with panels of Richard going about his morning. The time of day stamped in the upper left corner of each panel. In each panel, he will appear lost in thought, barely interacting, if at all, with the people around him.


Panel 1 – 7:42 AM – An image of Richard getting out of bed. He is wearing boxers and a tank top. His wife asleep beside him.


Panel 2 – 8:33 AM – Richard is dressed for work (business casual) eating breakfast while his wife, in her bathrobe stands behind him at the sink preparing something for their baby who is sitting in a high chair next to him. Richard is looking straight ahead as he eats, not making eye contact with his child.


Panel 3 – 8:49 AM – Richard is walking out the door. His wife, still in her bathrobe and holding the baby, is kissing him on the cheek.


Wife – Have a good day hon.


Richard – Mmm Hmm.


Panel 4 – 9:03 AM – Richard is driving to work, mindlessly sipping a cup of coffee as cars slowly pass him in the next lane. Music is coming out of the speakers.


Panel 5 – 9:25 AM – An overhead view of a crowded parking lot for a large office complex. We see Richard’s car pulling into one of the few remaining parking spaces. A few figures are walking towards the building between the parked cars.


Panel 6 – 9:30 AM – Richard is walking past a receptionist towards a door marked “Dr. Allan.” The receptionist is looking up at him from her computer with a cheery expression on her face.


Receptionist – Good morning Richard.


Richard – Good morning Lucy.


Page 2


This is a 3 panel layout. The top panel is wide and fills most of the page. The next two panels are about the same size and positioned below it.


Panel 1 – We see Richard from behind as he enters his lab. The “camera” is behind and above his head, giving us a good look at his work space. The lab is not too big but also not small. Tucked into a corner is a small, messy desk with enough space in the middle of the stacked papers, books, etc… to fit a laptop computer. The walls are lined with cabinets and counters. Like his desk, the countertops are messy and covered with small pieces of electronic equipment. In the center of the room is a round platform, about 1 foot high and 12 feet in diameter. Heavy cables are running out from below it to outlets along the wall. The platform is immaculately clean and unlike the rest of the room, free of debris and junk. In the center of the platform is a large device that looks like a column of metal about 6 feet high. Near the top of the column, is a small door, similar to what you’d find on a microwave. Just below the door, is a keyboard sticking out from the column.


Panel 2 – Richard sits at his desk and boots up his computer.


Panel 3 – Richard stares at the machine in the middle of the room.


Page 3


5 panels. 2 rows of 2 and a wide panel on the bottom of the page.


Panel 1 – The time 12:45 PM is stamped in the upper left corner. Richard is still staring at the machine.


Panel 2 – Richard sighs


Richard – Sigh…


Panel 3 – Richard is now standing in front of the machine. A thoughtful look of concentration is on his face as if he is trying to decide what to do.


Panel 4 – Richard is reaching out to start typing on the keyboard.


Panel 5 – This is a wide panel. On the right, we see Richard with his hands on the keyboard, a startled expression on his face. On the left, standing by the door to his lab, is a man. The man is also dressed in business casual and while he doesn’t look out of place in the scene, based on Richard’s expression, we can tell that he wasn’t expecting anyone to be there. The man is holding what looks like a small baton in his right hand.


Stranger – I would appreciate it if you did not turn that on Dr. Allan.


Richard – …!


Page 4 –


This is a standard 4 panel page. 2 rows of 2.


Panel 1 – Richard has turned around to face his visitor, a look of bewilderment on his face. The stranger is putting the baton into the inner pocket of his jacket.


Stranger – This is my first time so please be patient with me. You’re probably trying to figure out who I am and how I got in here.


Richard – You could say that.


Panel 2 – Same scene but the stranger is now gesturing towards the machine behind Richard.


Stranger – Let’s start with this. I know that your name is Richard Allan and that you were born on July 30, 1980. You attended Crow Island Elementary School, Carlton Washburn Jr. High School, New Trier High School, and later Southern Illinois University where you earned both bachelor’s and master’s degrees as well as your doctorate.


Richard – Information that’s probably available online but still a little creepy that you would know that. If you’d like to make an appoi…


Panel 3 – Same scene. Richard is slowly walking towards the counters lining the wall to his right.


Stranger – I know that you met your wife Maria on the playground in 4th grade. I know that you didn’t see her for 10 years when she moved to New Jersey with her family. I know that when you reconnected with her, she was engaged to another man and you were the reason they are no longer together.


Stranger – I also know that there is an alarm button under that mess on the counter. Please do not reach for it.


Panel 4 – Richard slows down.


Richard – And why exactly do you know all this?


Stranger – More importantly, and more to the point of why I’m here, I know that for the last 11 years, you’ve been using your spare time at work to build a time machine.


Panel 4 – Richard stops in his tracks. His mouth agape.


Stranger – I also know that it works and that you can never be allowed to turn it on.


Page 5


This is a 6 panel page. 2 panels on the top, one wide panel in the middle, and three panels on the bottom.


Panel 1 – Richard and the stranger are now face to face. Richard’s mouth is still open slightly with a dumbfounded look on his face.


Richard – I… How…?


Stranger – I know these things because I come from a place where both space and time travel were achieved some time ago.


Panel 2 – Richard is pushing past the stranger in an effort to get to the door.


Richard – You can’t be here! You need to leave!


Stranger – Richard don’t!


Panel 3 – This a wide panel stretching from one side of the page to the other. On the left, Richard has opened the door to his office to reveal that time has stopped outside of his lab. We see co-workers suspended mid-step as they walk about the office or drink their coffee. On the right we see the stranger, patiently waiting by the machine in the center of the room, as Richard slowly figures out what is happening.


Panel 4 – A close up of Richard looking through the door. The scene in the doorway is exactly the same. Richard is looking through the door to his right.


Panel 5 – Exact same scene through the door but now Richard is looking to his left.


Richard – I don’t feel so good…


Stranger – We are in a time bubble. Whatever you do Dr. Allan, do not walk through that door.


Stranger – There is little I can do to help you if you do.


Panel 6 – Richard has turned around to face the stranger and taken a few steps towards him. We are looking at Richard from behind the stranger’s head. Behind him (Richard) we can still see the outside office space through the still open door.

Richard – I don’t… I don’t understand. Why are you doing this to me?




FORMAT: 22 page, black and white comic


TITLE: Surge                                     SCRIPT BY:  Samuel Read

LENGTH: 5 pages (of 22)              DRAFT ONE


– PAGE 1 [Layout]

· 5 panels.


Panel 1

From a raised perspective (think rooftop) the view is of a narrow street in Fallujah, Iraq; it is mid-afternoon, the sun in a clear sky casts stark shadows against the light coloured buildings, on which bullet holes and blast marks can be seen.  No people or vehicles are present (see reference images ‘A’ and ‘B’).


1 CAPTION: November 2004.

2 CAPTION: Fallujah, Iraq.


Panel 2

Inside a Bradley Fighting Vehicle (herein Bradley; see reference images ‘C’ and ‘D’); it is full of US Marines, including FELIX.  Apart from FELIX, none of the other Marine’s faces can be seen; all are turned away from view, or obscured by their helmets.


3 RADIO CHATTER (NO TAIL): Delta Kilo, route on Indigo grid Echo, over.

4 MARINE (NOT FELIX): Too damn hot.


Panel 3

The same street as in Panel 1 but from ground level; the viewpoint looks towards where the Bradley FV has just turned onto the street at its far end, dust kicked up around it.


Panel 4

Close-up of an INSURGENT’s hand griped tightly around the handle of an RPG-7 grenade launcher, aimed left-to-right (see reference image ‘E’), finger close against the trigger.


Panel 5

Birds-eye view of the street; the Bradley is halfway down it, followed by a Humvee, dust showing the vehicles’ progress.  A rocket propelled grenade is in mid-flight towards the Bradley.  A smoke trail behind this leads back to the bottom right hand corner of the panel; the launch concealed in shadow.



– PAGE 2 [Layout]

· 5 panels: Panels 1, 2, 4 and 5 are in the corners of the page (location indicated), with Panel 3 dominating, and in the case of Panels 1 and 3, over lapping them, as if encroaching on the events therein.


Panel 1 (Top Left)

Close up of FELIX inside the Bradley; eyes wide open in shock.


Lettering Note – The dialogue box in this panel is overlapped by the encroachment of Panel 3, as if the explosion has overwhelmed it.




Panel 2

The INSURGENT who fired the RPG is on his knees, in the process of reloading it.  Beside him, several other INSURGENT’s fire AK47s (see reference image ‘F’) at the off-panel Marine vehicles, facing right-to-left, as if shooting into the centre of the page.


Lettering Note – INSURGENT dialogue is in Arabic script with no translation.


2 INSURGENT (NOT RPG ONE): !أخرى مرة ضربهم !تحديث

(TRANSLATION FOR EDITOR: Reload!  Hit them again!)

3 SFX (FROM AK47S): Ratatatatatatatatatat.


Panel 3

The Bradley fills the panel; seen from the front, the impact and explosion of the RPG round dominates, having torn into the vehicle, throwing pieces of torn metal outwards.  The sound effect emanating from the point of impact is large.


4 SFX (FROM CENTRE OF IMAPACT): Booooooooooooooooooooom.


Panel 4

Close up of FELIX’s eyes and lip of his helmet; they are tightly closed, eye-lids and the surrounding face that can be seen is covered in a dark scorch mark.


4 MARINE (NOT FELIX, OFF-PANEL): Get out, bail out!


Panel 5

Silhouetted in black against grey smoke in which other figures can only be faintly seen, FELIX staggers arms outstretched as if about to fall to his knees.


Lettering Note – INSURGENT dialogue is in Arabic script with no translation.


5 FELIX: Cough, cough.

6 MARINE (TAIL FROM SMOKE): Movemovemove.

7 INSURGENT (TAIL FROM SMOKE): !تراجع في فهي

(TRANSLATION FOR EDITOR: They are in retreat!)


– PAGE 3 [Layout]

· 5 panels: Panel 5 is a small insert panel on Panel 4.

Panel 1

Seen from down a small dark alleyway, looking back toward the street; FELIX has collapsed on his knees just inside the mouth of the alleyway, his hand held to his mouth and eyes still closed.  Across his face is a scorch mark, as first seen in Page 2, Panel 4.  Behind him a cloud of grey smoke obscures the street.  Importantly, he has no rife with him.

1 MARINE (TAIL FROM SMOKE): Everyone in, let’s go!

2 SFX (FROM SMOKE, GUNFIRE): Ratatatatatatatatatat.

3 SFX (FROM SMOKE, GUNFIRE): Brakaka. Brakaka.  Brakakakaka.

Panel 2

From FELIX’s eyes; he looks down on the hand held to his mouth in Panel 1; fresh blood stains his hand.


Panel 3

Seen from close behind FELIX; he is kneeing on the floor, staring back over his shoulder, an alarmed look on his face.




Panel 4

FELIX is crouched and leans against the wall of the alleyway, facing right-to-left.  The street, though unseen, would be off to the left of the panel, and from that direction a beam of sunlight breaks the shadows of the alleyway.


6 FELIX: Cough…. Wait.  Cough.


Panel 5

A close-up of FELIX’s eyes, wide open in terror.  This panel is meant to mirror Page 2, Panel 4.


8 FELIX (QUITE): Wait…



– PAGE 4 [Layout]

· 8 panels: Panel 1 stretches across the top of the page.  The layout is intended to evoke a sense of claustrophobia, hence the large panel count, and other than Panel 1 each panel would be small, and ideally not in a grid format.


Panel 1

Centred on the destroyed and abandoned Bradley; it faces out of the panel as it sits in the middle of the street.  The previously dense smoke has dissipated.  Behind the Bradley a dirt cloud tracks the movement of the Humvee, which can be seen in the distance having reversed back up the street.  An INSURGENT crouches, facing away, firing his AK47 towards the departing vehicle.  The body of another INSURGENT lies on the ground.  The buildings lining the street frame the panel and FELIX is seen from behind, leaning into the right hand side of the panel.


Lettering Note – INSURGENT dialogue is in Arabic script with no translation.


1 INSURGENT: !أكبر الله


2 SFX (FROM AK47): Brakakaaka.



Panel 2

Close up FELIX from the shoulders up; he has his back pressed against the alleyway wall, head and eyes tiled skywards, face terrified.


Panel 3

Close up of FELIX’s hands, placed against his body, as if padding himself down looking for something.


Panel 4

Close up of one of FELIX’s hands dipped into a pocket.


Panel 5

Close up on FELIX’s horrified face, seen up from the perspective of his hands, held down in front of him.




Panel 6

From FELIX’s viewpoint; he holds the shattered remnants of his personal radio.


Panel 7

Seen from the street, looking back towards the alleyway entrance (though not down into the alleyway itself), FELIX again peers round into the street, where two INSURGENTs are carrying the previously seen corpse out of the street.


Panel 8

Close up of one of FELIX’s hands closed around the grip of his still holstered pistol, positioned up on the front of his body.


Lettering Note – SPIRIT’s dialogue text is a different font to that used in normal text and, if at all possible, is not contained by word balloons.





– PAGE 5 [Layout]

· 3 panels: Panel 3 large and dominates bottom half of the page.


Panel 1

From a raised viewpoint, FELIX can be seen backed against the wall of the alleyway; his pistol is held up in both hands, though not aimed at anything, and he looks up at the walls, as if trying to determine the source of the voice.  The edges of shadows in the alleyway have angled, unnatural edges, as if warped.


Lettering Note – SPIRIT’s dialogue text is a different font to that used in normal text and, if at all possible, is not contained by word balloons.


1 SPIRIT (OFF-PANEL,): I see you, little warrior.  Hehehe…  I see you!

2 FELIX (QUIET): W-who’s there?


Panel 2

Looking from back deep in the alleyway, past FELIX towards the street; FELIX points his pistol, gripped in both hands, towards the viewpoint.  The edges of the shadows in the alleyway are again twisted and unnaturally, as in Panel 1.


3 FELIX: Show y-yourself!

4 SPIRIT (OFF-PANEL): Hehehe.  Now now, there is no need to for that.  4 5 SPIRIT (OFF-PANEL): After all…


Panel 3

Worms-eyes view from FELIX’s feet, looking up at the wall behind him.  FELIX looks up, pistol held close to his body.  The shadows on the wall have twisted into a huge image of the SPIRIT’s face; a maniacal grin is spread across its angular features, and its cat-like eyes look down on FELIX menacingly.


6 SPIRIT: … we are the only ones here.






Challenge #8- Task (The One Shot)-


Challenge #7- Task (The Pitch)-

Challenge #7 (Completed Projects)-

Challenge #7 (The Results)-


Challenge #6 Task (The Script)-

Challenge #6 (Completed Scripts)-

Challenge #6 (Boardroom/Results)-


Challenge #5 Task  (The Rewrite)-

Challenge #5 Complete Projects-

Challenge #5- The Judge’s Thoughts-

Challenge #5- The Boardroom-


Challenge #4 Task (Marketing) –

Challenge #4- Completed Projects-

Challenge #4- Judge’s Thoughts Boardroom-


Challenge #3 Task (Milking the Franchise)-

Challenge #3- Completed Projects-

Challenge #3- Judges-

Challenge #3- Boardroom-

WEEK TWO Challenge #2-Completed Projects-

Challenge #2 Judges-

Challenge #2- Boardroom-



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