ShopDreamUp AI ArtDreamUp
Deviation Actions
Literature Text
SUPERHAWKE #0
A hawk takes off
By Israel Reyes
PAGE 1:
This is a full splash page.
Panel 1:
Full, lateral three-shot of the Hawkins couple and Amanda's biological mother. The Hawkins are in the right while Amanda's mom is on the left. The panel's background is blue and we can only see the trio in black silhouettes. Both parties are looking at each other. Superhawke's mom is carrying baby Amanda in her arms.
Narrative: 20 years ago.
PAGE 2:
This page is composed of five panels. The first four are square and layered symmetrically as if there was no fifth. The fifth, however, is rhombus-shaped and goes in the center of the page. All panels have a blue background, and everyone is depicted as heavily-shadowed, their factions partially obscured.
Panel 1:
Medium full shot of Amanda's mom, but only up to her nose. The camera is looking right at her with a focus on baby Amanda. She has long hair, is carrying Amanda in her arms and is wearing her Hawke's uniform. In spite of the shadowing, the smile on her face makes evident she's fighting back the tears.
Panel 2:
Medium 2-shot of the Hawkins, James is standing at the left and half a step in front of his wife. The camera is aiming at the Hawkins' eleven o'clock. James looks considerably slimmer, 34 years old and still in his prime. His shirt has the sleeves rolled up. James' face is solemn, assuming the responsibility laid out before him; he has a brush haircut slightly longer than the way he wears it today. His wife's face looks at the strange woman with concern, empathizing with the hard decision she is making; she is wearing a sleeveless, turtleneck top the kind women still wore in the early 80's. She has short, dark hair. She's resting her right hand on James' shoulder.
Panel 3:
Medium full shot at Hawke's mom. The camera aims at her nine o'clock. She's sprinting away. Her right hand is covering her eyes, a tear is rolling down her cheek. Both her left arm and the way her hair is flowing denote her movement. She already handed Amanda over.
Panel 4:
Medium 2-shot of the Hawkins, James to the left, but now he's standing right next to his wife, his left arm behind her and holding her, his hand on her left arm. He's staring in the distance. His wife is now holding baby Amanda in her arms and is looking down at her with a loving, sympathetic smile. Baby Amanda has her head to the left.
Panel 5:
The Hawkes' emblem.
PAGE 3:
This page is divided in three panels. The first one splashing on the top half of the page, last two on the bottom.
Panel 1:
Daytime. Wide, isometric shot of New York's South Street Seaport bridge (visual reference HERE), this going from the bottom left to the top right of the panel. There's a traffic jam and some cars look in disarray. The bridge was just shaken by a quake so it's only to be assumed there was some panic among drivers. We're watching the T.V news, so add a layer of black lines over the panel, the kind that use to appear when you take a picture of a T.V screen because of camera speed vs. T.V's refresh rate. The panel has the I.N.N news network log on its top left corner, the time of the day on its top-right corner (it's 5:30P.M), and the "South Street Seaport Bridge" name at the bottom-right. Chat balloons are disembodied as the speaker is not on camera. Feel free to add some jags here and there to the balloons if you want to denote his voice is broadcasted.
Narrative: Present day.
Voice: Larry Hoffman from the sky, ladies and gentlemen. As we can see, people are still a bit shaken from the recent earthquake, we're still waiting for confirmation on intensity from the geologic institute.
Panel 2:
Low-angle shot from the bridge, a car is passing by, the camera is aiming at the car's two o'clock (car model of your choice). Larry's news helicopter is flying high on the background, facing the camera.
Larry: Fortunately for everyone, a scare was all these drivers got on their way home, same as everywhere else in the city. No real damage, and no wounded…
Panel 3:
Close-up at two gloved, female hands holding a cracked structure (which happens to be one of the bridge's towers). We're watching through this person's eyes and she seems to be covered in black clothes from head to toe, in spite that we can't see much (think of a first person shooter).
Amanda: …just like that, now hold it right there…
PAGE 4:
This page is composed of five panels. The first one going from side to side and using up 1/3rd page in height. The remaining four panels, are layered on a 2x2 grid on the remaining space, equally distributed.
Panel 1:
Lateral long shot of the bridge, making emphasis on the towers (as shown in the visual reference). A chat balloon is coming from the towers, under the bridge, at a middle point between the bridge and water level. A large banner announces the episode's name in Superhawke's signature font: A Hawk Takes Off.
Amanda: …steady…
Panel 2:
Lateral, 3/4th shot of Amanda pressing her hands against a bridge's tower. She's between two towers, using them as cover as she works. The camera is aiming at Amanda's three o'clock. She is wearing jeans, a black sweat shirt with the hood on, and a black ski mask under the hood. Her back is arched and her bottom pokes out a bit. Her right thigh is pointing at four o'clock while her left one is pointing at five o'clock. She's welding the cracks with her heat vision; her eyes are glowing red and the rock in front of her is white hot.
Panel 3:
Close-up at Amanda's face, the camera is aiming at her 2 o'clock. She is biting the index finger of her right glove through her ski mask, her hand pulling away to remove the glove. Her pupils are still glowing, her gaze fixed in the off-camera tower she's welding.
Panel 4:
Same shot as panel 2, except she is now helping mold the searing-hot plaster with her bared, right hand. Her eyes are wide shut.
Amanda: Ow! Hot hot hot…
Panel 5:
Tight shot at Amanda's right eye, using the right side of the panel. Her eye is wide open as if startled or surprised. The left side of the panel is occupied by an onomatopoeic "ring". Panel's background is blank.
PAGE 5:
This page is composed of five panels. The first two are next to each other and both using 2/3rd page in height. The last three are next to each other using the remaining space.
Panel 1:
Low angle, full shot of Amanda, the camera aiming at Amanda's five o'clock. Amanda's cell phone is ringing in the back pocket of her jeans (yes, the shot highlights her bottom). Add the proper motion signs to denote vibration in the phone as needed. Amanda's left hand is still against the tower while her right arm points at her seven o'clock, wiping remains of sludge. Amanda's face is turned to (try to) peek at her backside. Her right thigh is pointing at her four o'clock and her knee is flexed in a ninety degrees angle. Her left thigh is pointing at her five o'clock and her knee is flexed in a 120 degrees angle.
Amanda: Oh, you got to be kidding me!
Panel 2:
3/4th shot of Amanda, the camera is aiming at Amanda's one o'clock. She's holding her cell-phone to her ear with her right hand and her head is slightly tilted to the right. Her left hand is still against the tower. Her legs as in panel 1.
Amanda: Hello?
Panel 3:
Lateral close-up of Amanda, the camera is aiming at her three o'clock. She's still holding the cell-phone to her ear.
Voice: Amanda…
Amanda: Dad? What's wrong?
Panel 4:
Close-up of Amanda, the camera is aiming at her one o'clock. Her head is no longer tilted to the side, and her eyes are wide open in unpleasant surprise.
James: It's your mother… she, she feinted in the mall, we're at the hospital.
Panel 5:
Again, close-up of Amanda, this time the camera is aiming at her ten o-clock. Her (mostly off-camera) left arm is flexed on a 30 degrees angle and her hand is clenching her ski mask. Her sweat shirt's hood is down. Amanda's chestnut hair is in disarray after suddenly removing he mask. Her face is showing a clear state of alarm.
Amanda: M-mom! Which hospital? I'll be right there!
James: Wait… I need you to do something first.
PAGE 6:
This page is composed of four panels, all of them evenly distributed.
Panel 1:
Same shot as Page 4/Panel 2, except that she's holding her cell phone to her ear. Her hair is flowing freely with the wind, and her eyes show clearly her unease.
Amanda: What is it?
James: I need to you to go to our house and seek mom's papers and medical history, the doctors need it. You can get there much faster, can you please do it?
Amanda: Okay.
James: Thank you, angel.
Panel 2:
Again, same shot as Page 4/Panel 4, but her right hand is placing her phone back in her back pocket. She is giving her repair job one last look, her worry for her mom showing on her face.
Amanda: Guess that will do.
Panel 3:
Same shot as panel 3, but Amanda is now a diminutive dot in the background, flying away (add the proper motion signs).
Panel 4:
Same shot, but now Amanda is finally gone. The tower shows a new crack where she just welded.
PAGE 7:
This page is composed of four panels, all of them going from side to side of the page.
Panel 1:
Medium-full shot of Amanda. She just arrived at her apartment (she's making a stop before going to her parents' place. For visual reference, perhaps something like this, just add curtains). The camera is aiming at her ten o'clock. One of the balcony doors in the background is open, the wind is making a curtain flutter as well as her hair, denoting that's how she got in the apartment.
Amanda: (thinking) I better get changed first, then I'll go get mom's papers, and then the hospital.
Panel 2:
Medium-full shot of Amanda, she has her back to the camera. She is opening her closet.
Panel 3:
Isometric close-up of Amanda's bed, going from top-left to bottom-right. Amanda's black clothes are discarded on the bed.
Panel 4:
Medium-full shot of Amanda. She is now looking at the window's direction and the camera is aiming at her two o'clock. She is on the process of closing a red blouse she just put on, her hands are on the open sides of the garment. The blouse is still open and showing a white, lacey bra underneath. She is already wearing her usual, fake glasses.
PAGE 8:
This page is composed of four panels, all of them going from side to side of the page.
Panel 1:
A knees-to-waist shot of Amanda. The camera aims at her eight o'clock. She's wearing a red blouse and black pants. Her left hand can be seen holding a set of keys. She's now at the living room of her parents' house (and this time, she used the door). The walls covered in beige wallpaper with the kind of patterns you'd expect to see at your parents or grandparents' house. Light brown velvet couches and a varnished wood coffee table with a flower pot on top can be seen in the background.
Panel 2:
Full shot of Amanda. The camera aims at her ten o'clock. She's sitting on her parents' bed with her left leg on the bed and flexed under her right leg. Her attention is on the documents she has on her left hand, and her right hand is holding a similar load. Both of her arms are flexed in 70 degrees. There are several folders on the bed and the room's closet is open.
Panel 3:
Close-up of Amanda. The camera aims at her 12 o'clock. Her eyes are still on the documents in her left hand, and her face portrays the kind of shock you'd throw from a positive result on an A.I.D.S' test, the color leaving her face for a moment. Same pose as on panel 2, but her right hand is letting the papers she was holding slip from her grasp, the papers falling to her lap.
Amanda: What…
Panel 4:
Tight shot of Amanda's lips. Her mouth is parted in stupor. Panel's background is black.
Amanda: …is this…
PAGE 9:
This page is composed of four panels, all of them going from side to side.
Panel 1:
Close up of Amanda's hips. The camera is aiming at her eight o'clock and she's at the right corner of the panel. In the background, James is talking to a grey-haired doctor, both facing each other, the camera aiming at James' three o'clock in a Medium Full Shot. James is wearing a white shirt with the sleeves rolled, while the doctor is wearing a typical white coat. Present-day James contrasts with the one from 20 years ago, having gained weight, gotten grey hair, wrinkles, and a slightly receeded hairline. The scenery is a waiting room outside E.R. Add at least three other people as well as a wall-mounted T.V in the background.
Doctor: She's back to consciousness, you can see her now.
James: Thank you so much, doctor.
Panel 2:
Close up of James. The camera aims at his two o'clock, but his head is facing one o'clock.
Amanda: Dad?
Panel 3:
Lateral, medium 2-shot of Amanda and James, they're looking at each other. James is on the left of the panel. Amanda is handing him a folder with the required papers. She looks crestfallen.
James: Thanks pumpkin. Mom is fine now, but the glucose test says she's diabetic. She had a diabetic shock.
Panel 4:
Close up of Amanda. The camera is aiming at her ten o'clock. She has a shocked look in her eyes and her mouth is wide open. Add one or two people in the background.
Amanda: …oh my God.
James: *sigh* I know pumpkin, I know. I'd just like you to be calm and smiling when we go see her, okay? The last thing your mom needs is seeing us in a wreck.
PAGE 10:
This page is composed of six panels on a 2x3 grid.
Panel 1:
Lateral, medium 2-shot of James and Amanda hugging. James is at the left side of the panel. Amanda's head rests on James' right shoulder in the hug. She still has a troubled expression, but with hints of resignation.
James: Some exercise, the right food, and she'll be fine. Now give your old man a hug.
Amanda: Okay.
Panel 2:
Lateral, medium 2-shot as in panel one. They're parting now from the hug, and James is resting his hands on Amanda's shoulders. James is smiling a tired, but comforting smile, this was an ordeal to him but he's still the man of the house and is putting a brave front for her daughter. Amanda is smiling a weak smile, yet still making an attempt to smile, both for her and her father.
James: Now, I see there's something else in your mind, isn't it?
Amanda: Not right now dad, we can talk after we go see mom. Okay?
Panel 3:
Close up of Amanda. The camera aims at her ten o'clock. She has a serious look on her face. Her right hand is tugging a side of her blouse, undoing a couple buttons to momentarily reveal her Hawke's costume underneath.
Amanda: But yes, I think there's a lot to talk about after that.
Panel 4:
Full shot of a random, young man. This is a cameo of Lawrence Albright from Black Shadow's title, visual reference here. He's sitting at the edge of a row of seats at the waiting room, leaning forward and holding a foam cup of coffee with both hands. His eyes are wide open as he looks with sudden interest at his cup. Behind him and to the left of the panel you can see Amanda's backside in the background.
Panel 5:
Tight shot at the cup in Lawrance's hands from a high angle. There are ripples in the dark liquid as well as minimal motion signs at the hands. A small quake is taking place.
Panel 6:
Medium 2-shot of Amanda and James, same positions. James now has his hands back to his sides, and his head is facing at his 2 o'clock. Amanda is mirroring his position, her head facing at her 10 o'clock. Both have a startled look on their faces.
James: It's…
Amanda: …another earthquake?
PAGE 11:
This page is composed of five panels. The first four on a 2x2 grid. The last panel goes from side to side of the page.
Panel 1:
Same shot as in Page 10/panel 6, but James is holding up a hand in front of Amanda. He is squinting slightly with a pensive expression.
James: Don't fret pumpkin, it's a small one. It will pass shortly.
Panel 2:
Same shot as in panel 1. James now has a relaxed smile on his face. Amanda still has her mouth open, but is starting to calm down.
James: See? It's gone.
Panel 3:
The obligatory Stan Lee cameo (or insinuated at least, make him a dead-ringer for Stan, just not an actual portrait in order to avoid potential trouble). ¾ shot of Stan Lee and a nurse. Good old Stan is at the left of the panel. His arms are flexed and he's looking down at his partially open, shaking hands. The nurse to his right is holding his arm and has that typical "nurse smile" on her face.
Stan: It's still shaking…. Still shaking.
Nurse: That's just your Parkinson, don't worry sir.
Panel 4:
2-shot Close-up of Amanda and her father. This time, Amanda is at the left of the panel. They're still both facing each other, but her head is facing to the camera. Her eyes are looking up at the wall-mounted T.V nearby, same as James. Amanda has once more shock on her face, eyes wide open, pupils contracted.
Amanda: I don't know what I'd have done if it had been a quake like last OH DEAR GOD!
Panel 5:
Wide shot of South Street Seaport Bridge from a high angle. We're watching I.N.N's news on the hospital's T.V so please add the same features as on Page 3/Panel 1 (the time now is 6:40, and the sun is setting). The section of the tower Amanda was welding at the beginning of the story is now partially collapsed (using THIS as reference, the tower at the right, first column at the left) having taken a surrounding chunk of the bridge. The traffic is stopped, a taxi is hanging at the edge while another car is falling. Several of the suspension wires are now loose.
Amanda: N-no! The bridge, I swear I…
PAGE 12:
This page is composed of five panels. Panels 1 and 2 are next to each other, using ½ page in height. Panels 3 and 4 are on top of each other, using the bottom-left quadrant. Panel 5 is on the bottom-right.
Panel 1:
Lateral medium full shot of Amanda and James. Amanda is at the left of the panel, and she has her back to James. The way her hair flows denotes the quick spin motion she just did. Her face is 2 parts mortification and 1 part guilt. James is holding Amanda's left wrist to stop her. His face is dead-serious.
Amanda: I must go, I'll…
James: Amanda, wait.
Panel 2:
Again, medium full shot of Amanda and James. Amanda just spun back to face her dad (again, reflect this in the way her hair flows). Her mouth is wide open in protest. Line James' chat balloon with an interrupted line to denote whispering.
Amanda: Dad! Let me go!
James: This isn't one of your "secret Samaritan" trips, this is live T.V. Everyone will see you!
Panel 3:
Tight shot of James' eyes, the camera aims at his 2 o'clock, his eyes are still dead-serious with concern. Line Amanda's chat balloon for whispering.
Amanda: Dad. The people… please… they're dying.
Panel 4:
Same as panel 3, but his eyes are shut in defeat. Line his chat balloon for whispering.
James: Just… be careful. Please.
Panel 5:
Lateral, medium full shot at Amanda. The camera is aiming at her nine o'clock. The way her hair flows denotes she's walking with haste, close to jogging. Her right hand is keeping her blouse closed. Her face shows worry and her eyes seem to be darting around. Her chat balloon is one for thoughts.
Amanda: I just need to… no, no time to change clothes at home, but I still need someplace to take these off.
PAGE 13:
This page is composed of four panels. Panel 1 is half a page in length and ¼ page in height. Panels 2 and 3 are one on top of each other, both in the same row as panel 1. Panel 4 bleeds on the rest of the page.
Panel 1:
Tight shot of the back of Amanda's hands. The camera is aiming at her nine o'clock. Her right hand is holding a doorknob which is closing with a discreet "click" (show the onomatopoeia please). Her left hand is above her right one, pushing the door softly.
Amanda: Laundry room will have to do, but…
Panel 2:
Medium full shot of Amanda, but only up to her neck. The camera is aiming at her 12 o'clock. She's opening her blouse with both hands, showing her hawkes' uniform underneath.
Amanda: …I'm so…
Panel 3:
Tight shot of Amanda's feet. Her pants are pooling at her feet, she's wearing the hawkes' boots. Add motion signs that denote the pants just slid down.
Amanda: …gonna…
Panel 4:
Long shot of Amanda. The camera is aiming at her 2 o'clock. She's looking down at herself with a red face that mixes embarrassment and disbelief. Her mouth is open. She's already in costume and her pants are pooling on the floor at her side. Her face is down and to her right. Her right is horizontal and flexed in a 90 degrees angle, half a foot below chin's height with her forearm in front of her. Her left arm is to her side and slightly flexed in a 120-degrees angle, hands open. Her knees are only slightly flexed (150 degrees angle perhaps). On the background, there's a big laundry machine to the left of the panel, and a laundry cart to the right. A towel is hanging from the cart's side. Walls are beige.
Amanda: …die after this! I must really ask dad about this costume and the woman in the photograph, provided I don't die of embarrassment out there first.
PAGE 14
This page is composed of five panels, all of them ¼ page in height. Panel 1 goes from side to side of the page. Panels 2 and 3 are both on the second row. Panels 4 and 5 go both from side to side of the page.
Panel 1:
Low angle, long shot at a taxi. The camera is aiming at the taxi's 1 o'clock. The front half of the taxi is hanging from the chasm made when part of the bridge collapsed.
Taxi: Okay, c-calm down….
Panel 2:
Lateral, medium 2-shot of Harold Fitzgerald inside the taxi (reference HERE). The camera aims at his three o'clock as if the dolly was standing right outside the cab and we had removed the door. The shot is tilted to the right (not so much a dutch tilt as the fact that the taxi is hanging and close to falling). Harold is pressed against the back of his seat, both arms to his sides and pressed against the back of his seat just as much, as if he could hold the taxi and prevent it from plummeting. He is wearing his usual cap, jeans, and a plain black t-shirt. His head is tilted back. His eyes are wide shut and he is talking through clenched teeth.
Harold: Help… help is bound to come, r-right? A-all we have to do is… w-wait... Wait here… and not move…
Panel 3:
Frontal close-up of the taxi driver. His open mouth and eyes reflect his terror, cold sweat running down his face, his hands clenched around the wheel. His terrified eyes are looking at Harold through the rear-view mirror. Harold is partially visible in the background. The driver's appearance is up to you, just for God's sake not black and not hindu.
Panel 4:
Frontal, low-angle, medium full shot of the taxi. The taxi is tipping further towards the chasm. The driver's door is open. The driver is resting his right hand in the open door, his head pokes out as he turns in the bridge's direction, about to risk the jump out of panic.
Harold: Wait! No! What are you doing!?
Panel 5:
High angle, ¾ shot at the taxi driver. The camera aims at his 1 o'clock. The driver is jumping in order to grab a ledge. On the background we can see the taxi with the driver's door open, the camera aiming at the taxi's 7 o'clock. Harold's panicked face watches the driver through the open window. Use large, hand-drawn fonts (or equivalent) for the chat balloon.
Harold: WAIT!
PAGES 15-16:
Here I want a double splash page. This is Superhawke's public debut so I want it on 2 pages. This splash will be composed of 5 panels. Panels 1 through 4 will be at the top, all on a same row across both pages, using ¼ page in height. Arrange them right next to each other with minimal spacing. Panel 5 uses the rest of space. Both panels 1&2 will share a same chat balloon on top of them, with large fonts:
Shared: HEEEEEEEEEEEEEEEEEEEEEEEEELP!
Panel 1:
(very)Low angle, full shot of the taxi. The taxi is falling off the bridge.
Panel 2:
Same shot as Page 14/Panel 5, but it's now a higher angle. The driver's jump came some inches too short, and he's now beginning to fall as well. He is looking up at the ledge now away from his grasp as he falls to his doom.
Panel 3:
Medium full shot of Harold with a severe dutch tilt. The camera is aiming at his 3 o'clock. He is hitting the front seat as the car somehow stopped mid-fall and recoiled. His arms are flexed with his open palms against the front seat in a (failed) attempt to stop himself. He is grimacing with his face to the camera as his body hits the seat.
Panel 4:
Close-up of Harold. The camera aims at his 2 o'clock. He is looking up, his head out of the window. The taxi seems to be suspended diagonally.
Harold: What…
Panel 5:
High angle, wide shot of Amanda. The camera is aiming at her 1 o'clock. She is flying as she holds the taxi with her right hand and the driver with her left. She is looking up as she takes both back to safety. Her face shows determination but not overly serious. Her cape and hair are moving with both the motion of her flight and the wind. She is holding the car by the hood, her fingers hooked inside Harold's open window. Harold is poking his head out of the window, watching Amanda dumbfounded. His mouth is as open as his eyes. Amanda is holding the taxi driver by the back of the neck of his shirt. The poor driver has his arms extended to his sides and flexed in a 90 degrees angle, downwards. His knees similarly flexed as he is still cringing in shock.
Harold: …the hell?
PAGE 17:
This page is composed of five panels. Panels 1,2, and 5, go from side to side. Panels 3 and 4 are next to each other on the third row. Panel 3 is 1/3 page in length, panel 4 using up the remaining space.
Panel 1:
Wide Close-up of a crowd of onlookers (appearance up to you). The camera faces the crowd. The whole crowd is all staring at something in the sky, awestruck to the last of them. The center of the crowd is shadowed by something above them.
Panel 2:
Low angle wide shot of the same crowd of onlookers. The camera aims at the crowd's back. They're all looking up and at the background where Hawke, shadowed by the sun's glare (she's right in front of it from our perspective), is slowly hovering down with the taxi and the driver in her hands.
Panel 3:
Tight shot of Harold's right eye. The eye is wide open and the pupil is contracted. Harold is experiencing the kind of shock induced by a sudden reality shift.
Harold: It… it's real…
Panel 4:
Low angle, lateral, ¾ shot of Hawke. The camera aims at her 3 o'clock. Her right hand is holding the car by the back of its hood (as in previous panels). She's looking straight ahead and doesn't seem to be aware of Harold. The sun is at her back, so her front side is slightly shadowed. Add a loose suspension wire or two in the background in addition to the blue sky.
Harold: Just like in comics… but real…
Panel 5:
Wide shot of Hawke putting down both the taxi and the driver. The camera aims at her 10 o'clock. She's surrounded by onlookers. Her left hand just released the driver, who is throwing himself at the floor with both arms extended. The driver's face is flowing with tears.
PAGE 18:
This page is composed of six panels, all of them ¼ page in height. Panels 1 and 2 are next to each other in the same row. Panel 3 goes from side to side of the page. Panels 4 and 5 go next to each other (as 1-2). Panel 6 from side to side.
Panel 1:
Lateral, ¾ shot of Hawke taking flight again. The camera aims at her 3 o'clock. The flowing motion of her hair and cape denote she's taking off in a diagonal trajectory. Her back is straightened up, her shoulders and arms are behind her, the arms pointing at the 7 o'clock. Her right leg is flexed in a 45 degrees angle, her thigh perfectly horizontal. Harold's chat balloon denotes he's shouting off-panel from the 8 o'clock.
Harold: Hey, wait!
Panel 2:
(light)Low angle, close up at Harold. The camera aims at his 2 o'clock. He's peering from an open window, still inside the taxi. His hands are cupped around his mouth as he shouts, looking up at Hawke. His brow slightly frowned from the effort of shouting.
Harold: Three more cars fell to the water! Three!
Panel 3:
High angle close-up at Hawke. The camera aims at her 11 o'clock, but her head is turned to her 2 o'clock. Her hair flows reflecting the sudden turn. She is at the right of the panel. Down in the background, we can see the taxi with Harold peering out of the rear window. He is smiling and giving Hawke a thumbs up (he got over the shock already, and now is "living the dream", even if vicariously). To the taxi's left, we can see the driver doing his best impersonation of John Paul II, on his knees and bent over, kissing the floor repeatedly.
Hawke: Thanks, I'm on it!
Panel 4:
Long shot at Amanda (or her blur at least). She's diving at the water as fast as to leave both a visual blur and a splash of water. Her boots are still visible.
Panel 5:
Long shot at Amanda (that's really her this time). The camera aims at her 10 o'clock. She's coming out of the water with a car (model of your choice) above her head, lifting it with both hands.
Panel 6:
High angle, close up at Hawke. She's at the right of the panel. The camera aims at her 11 o'clock, but her head is turned to her 2 o'clock as in panel 3, but she is rising her arms above her head. The car above her shadows her. Her wet hair is matted to her head and her skin is glistening with a coat of water. On the background, we can see the crowd of onlookers has closed around the taxi. Hawke's eyes and mouth are wide open as she shouts at the people.
Hawke: Excuse me! Make room please!!
PAGE 19:
This page is composed of five panels. Panels 1, 2, and 5 go from side to side. Panels 3 and 4 are next to each other on the same row.
Panel 1:
Same shot as in Page 17/panel 1, just change some faces and add new ones. The crowd is big, some of them are staring in amazement, some in joy, and some are in shock. The shadow over the crowd's center is slightly bigger.
Hawke: People is drowning! Move!
Panel 2:
Wide shot of Hawke in the middle of the crowd. She just landed with the car in her back. The back of the car is touching the ground while the front is resting on Hawke's shoulders. Hawke's knees are flexed in a 120 degrees angle and her hands are still supporting the vehicle. She is frowning with a face of "told you so, dammit!" Both her body and the car are soaking wet and dripping all over. The crowd is hastedly stepping back just now, having waiting to the last frikking second to move (don't you love people?). Hawke is more or less in the background, as there are at least two onlookers closer to the camera than her (one of them in medium full shot, at the right of the panel). All of them are looking at Hawke, with their backs to the camera. One of them just landed on his bottom right in front of her. To the right of this one, another is crawling away while still looking back (this one is the only one not with his/her back to the camera). Mix men and women in the crowd as you see fit.
Hawke: Thank you very much!
Panel 3:
Close up of Hawke. She is underwater, and diving downwards as she faces the camera. The camera is looking up at the surface from below as if in a very low angle. A trail of bubbles surrounds her all over and goes all the way to the surface. Her hair moves and undulates with with the water. Her arms are to her sides, aiming at the 5 and 7 o'clock respectively.
Panel 4:
2 shot close-up of Hawke and a driver trapped inside his car. The camera aims at the man's 10 o'clock, and he is to the right of the panel. His face is filled with terror. His left hand is open and pressed against the closed window, his right hand balled into a fist and hitting the window in a desperate plea for help. On the left of the panel, Hake is looking at him. Her hair is flowing upwards.
Panel 5:
¾ shot of Hawke. The camera aims at her 11 o'clock. She is holding the car she just rescued high above her head with both hands. Her left leg is lifted and she is pushing back another car with her foot, to its driver's chagrin.
Car pushed: Hey! My car!
Hawke: I said this is an emergency! Thank you!
PAGE 20:
This page is composed of four panels. All of them go from side to side.
Panel 1:
Medium-full shot of Larry and his pilot. The camera aims at their 5 o'clock and is distanced as if the dolly was placed on the backseat behind Larry. Superhawke and the crowd can be seen on the background from a high angle.
Larry: Get closer! Closer!! No no, I mean to the left, give me a good angle!
Panel 2:
Wide shot of Superhawke taking off after having finished her good deed. The camera aims at Hawke's three o'clock. The pose is the same as Page 18/panel 1, but she is looking at her 3 o'clock and down as the people as she flies off. On the background, you can see Larry's chopper at the right of the panel.
Panel 3:
Lateral, wide shot at Hawke and the news' chopper. The camera aims at Hawke's 3 o'clock. Both Hawke and the chopper are (almost) facing each other. Hawke is at the panel's 8 o'clock while the chopper is at the panel's 3 o'clock. Hawke has a look of sudden surprise on her face. The way her hair and cape flow denotes she did a sudden stop mid-flight. Her arms are to her sides and her legs flexed.
Panel 4:
Close up of Amanda. She is still soaking wet, her hair matted to her head. Her eyes are wide open as she gives Larry's chopper a "deer in the headlights" look, recognizing the chopper.
PAGE 21:
This page is composed of five panels. Panel 1 goes from side to side, using ¼ page in height. Panel 2 uses ½ page in both length and height. Panels 3 and 4 are on top of one another, ¼ page in height and both next to Panel 2. Panel 5 uses up the remaining space.
Panel 1:
Same as Page 20/panel 4, but add a layer with the same arrangements stated in Page 3/panel 1 to denote we're watching I.N.N's news on a TV screen.
Panel 2:
Medium full shot of a man in an arm chair. The camera aims at his 5 o'clock. The man has spun his chair away from his desk, and is now facing the huge window behind the desk. His right hand is holding the phone's speaker to the side of his head, concealing his face and stretching the cord. What we see of his head is his black, graying hair. He is wearing a green, military jacket of which we only see the arm.
???: Yes, I'm seeing it.
Panel 3:
Tight shot of the man's right hand and the phone's earpiece he's holding. The camera aims at the man's 2 o'clock.
Speaker: Your orders, general?
Panel 4:
A shot from the man's waist to his chest, light low angle. The camera aims at his 11 o'clock. His left hand is resting on the chair's arm as he talks. On his jacket we can see the amount of medals and insignias corresponding a general.
General: Schedule a meeting for the 2000 hours. I'll call the president.
Panel 5:
High angle, tight shot of the general's desk. The chair's shadow is projected over a folder on top of the desk. The folder's tab says: SUBJECT ZERO. There's also a romp desk toy at the desk's left and a Montblanc fountain pen at the folder's right.
Speaker: Yes sir. Thank you sir.
A hawk takes off
By Israel Reyes
PAGE 1:
This is a full splash page.
Panel 1:
Full, lateral three-shot of the Hawkins couple and Amanda's biological mother. The Hawkins are in the right while Amanda's mom is on the left. The panel's background is blue and we can only see the trio in black silhouettes. Both parties are looking at each other. Superhawke's mom is carrying baby Amanda in her arms.
Narrative: 20 years ago.
PAGE 2:
This page is composed of five panels. The first four are square and layered symmetrically as if there was no fifth. The fifth, however, is rhombus-shaped and goes in the center of the page. All panels have a blue background, and everyone is depicted as heavily-shadowed, their factions partially obscured.
Panel 1:
Medium full shot of Amanda's mom, but only up to her nose. The camera is looking right at her with a focus on baby Amanda. She has long hair, is carrying Amanda in her arms and is wearing her Hawke's uniform. In spite of the shadowing, the smile on her face makes evident she's fighting back the tears.
Panel 2:
Medium 2-shot of the Hawkins, James is standing at the left and half a step in front of his wife. The camera is aiming at the Hawkins' eleven o'clock. James looks considerably slimmer, 34 years old and still in his prime. His shirt has the sleeves rolled up. James' face is solemn, assuming the responsibility laid out before him; he has a brush haircut slightly longer than the way he wears it today. His wife's face looks at the strange woman with concern, empathizing with the hard decision she is making; she is wearing a sleeveless, turtleneck top the kind women still wore in the early 80's. She has short, dark hair. She's resting her right hand on James' shoulder.
Panel 3:
Medium full shot at Hawke's mom. The camera aims at her nine o'clock. She's sprinting away. Her right hand is covering her eyes, a tear is rolling down her cheek. Both her left arm and the way her hair is flowing denote her movement. She already handed Amanda over.
Panel 4:
Medium 2-shot of the Hawkins, James to the left, but now he's standing right next to his wife, his left arm behind her and holding her, his hand on her left arm. He's staring in the distance. His wife is now holding baby Amanda in her arms and is looking down at her with a loving, sympathetic smile. Baby Amanda has her head to the left.
Panel 5:
The Hawkes' emblem.
PAGE 3:
This page is divided in three panels. The first one splashing on the top half of the page, last two on the bottom.
Panel 1:
Daytime. Wide, isometric shot of New York's South Street Seaport bridge (visual reference HERE), this going from the bottom left to the top right of the panel. There's a traffic jam and some cars look in disarray. The bridge was just shaken by a quake so it's only to be assumed there was some panic among drivers. We're watching the T.V news, so add a layer of black lines over the panel, the kind that use to appear when you take a picture of a T.V screen because of camera speed vs. T.V's refresh rate. The panel has the I.N.N news network log on its top left corner, the time of the day on its top-right corner (it's 5:30P.M), and the "South Street Seaport Bridge" name at the bottom-right. Chat balloons are disembodied as the speaker is not on camera. Feel free to add some jags here and there to the balloons if you want to denote his voice is broadcasted.
Narrative: Present day.
Voice: Larry Hoffman from the sky, ladies and gentlemen. As we can see, people are still a bit shaken from the recent earthquake, we're still waiting for confirmation on intensity from the geologic institute.
Panel 2:
Low-angle shot from the bridge, a car is passing by, the camera is aiming at the car's two o'clock (car model of your choice). Larry's news helicopter is flying high on the background, facing the camera.
Larry: Fortunately for everyone, a scare was all these drivers got on their way home, same as everywhere else in the city. No real damage, and no wounded…
Panel 3:
Close-up at two gloved, female hands holding a cracked structure (which happens to be one of the bridge's towers). We're watching through this person's eyes and she seems to be covered in black clothes from head to toe, in spite that we can't see much (think of a first person shooter).
Amanda: …just like that, now hold it right there…
PAGE 4:
This page is composed of five panels. The first one going from side to side and using up 1/3rd page in height. The remaining four panels, are layered on a 2x2 grid on the remaining space, equally distributed.
Panel 1:
Lateral long shot of the bridge, making emphasis on the towers (as shown in the visual reference). A chat balloon is coming from the towers, under the bridge, at a middle point between the bridge and water level. A large banner announces the episode's name in Superhawke's signature font: A Hawk Takes Off.
Amanda: …steady…
Panel 2:
Lateral, 3/4th shot of Amanda pressing her hands against a bridge's tower. She's between two towers, using them as cover as she works. The camera is aiming at Amanda's three o'clock. She is wearing jeans, a black sweat shirt with the hood on, and a black ski mask under the hood. Her back is arched and her bottom pokes out a bit. Her right thigh is pointing at four o'clock while her left one is pointing at five o'clock. She's welding the cracks with her heat vision; her eyes are glowing red and the rock in front of her is white hot.
Panel 3:
Close-up at Amanda's face, the camera is aiming at her 2 o'clock. She is biting the index finger of her right glove through her ski mask, her hand pulling away to remove the glove. Her pupils are still glowing, her gaze fixed in the off-camera tower she's welding.
Panel 4:
Same shot as panel 2, except she is now helping mold the searing-hot plaster with her bared, right hand. Her eyes are wide shut.
Amanda: Ow! Hot hot hot…
Panel 5:
Tight shot at Amanda's right eye, using the right side of the panel. Her eye is wide open as if startled or surprised. The left side of the panel is occupied by an onomatopoeic "ring". Panel's background is blank.
PAGE 5:
This page is composed of five panels. The first two are next to each other and both using 2/3rd page in height. The last three are next to each other using the remaining space.
Panel 1:
Low angle, full shot of Amanda, the camera aiming at Amanda's five o'clock. Amanda's cell phone is ringing in the back pocket of her jeans (yes, the shot highlights her bottom). Add the proper motion signs to denote vibration in the phone as needed. Amanda's left hand is still against the tower while her right arm points at her seven o'clock, wiping remains of sludge. Amanda's face is turned to (try to) peek at her backside. Her right thigh is pointing at her four o'clock and her knee is flexed in a ninety degrees angle. Her left thigh is pointing at her five o'clock and her knee is flexed in a 120 degrees angle.
Amanda: Oh, you got to be kidding me!
Panel 2:
3/4th shot of Amanda, the camera is aiming at Amanda's one o'clock. She's holding her cell-phone to her ear with her right hand and her head is slightly tilted to the right. Her left hand is still against the tower. Her legs as in panel 1.
Amanda: Hello?
Panel 3:
Lateral close-up of Amanda, the camera is aiming at her three o'clock. She's still holding the cell-phone to her ear.
Voice: Amanda…
Amanda: Dad? What's wrong?
Panel 4:
Close-up of Amanda, the camera is aiming at her one o'clock. Her head is no longer tilted to the side, and her eyes are wide open in unpleasant surprise.
James: It's your mother… she, she feinted in the mall, we're at the hospital.
Panel 5:
Again, close-up of Amanda, this time the camera is aiming at her ten o-clock. Her (mostly off-camera) left arm is flexed on a 30 degrees angle and her hand is clenching her ski mask. Her sweat shirt's hood is down. Amanda's chestnut hair is in disarray after suddenly removing he mask. Her face is showing a clear state of alarm.
Amanda: M-mom! Which hospital? I'll be right there!
James: Wait… I need you to do something first.
PAGE 6:
This page is composed of four panels, all of them evenly distributed.
Panel 1:
Same shot as Page 4/Panel 2, except that she's holding her cell phone to her ear. Her hair is flowing freely with the wind, and her eyes show clearly her unease.
Amanda: What is it?
James: I need to you to go to our house and seek mom's papers and medical history, the doctors need it. You can get there much faster, can you please do it?
Amanda: Okay.
James: Thank you, angel.
Panel 2:
Again, same shot as Page 4/Panel 4, but her right hand is placing her phone back in her back pocket. She is giving her repair job one last look, her worry for her mom showing on her face.
Amanda: Guess that will do.
Panel 3:
Same shot as panel 3, but Amanda is now a diminutive dot in the background, flying away (add the proper motion signs).
Panel 4:
Same shot, but now Amanda is finally gone. The tower shows a new crack where she just welded.
PAGE 7:
This page is composed of four panels, all of them going from side to side of the page.
Panel 1:
Medium-full shot of Amanda. She just arrived at her apartment (she's making a stop before going to her parents' place. For visual reference, perhaps something like this, just add curtains). The camera is aiming at her ten o'clock. One of the balcony doors in the background is open, the wind is making a curtain flutter as well as her hair, denoting that's how she got in the apartment.
Amanda: (thinking) I better get changed first, then I'll go get mom's papers, and then the hospital.
Panel 2:
Medium-full shot of Amanda, she has her back to the camera. She is opening her closet.
Panel 3:
Isometric close-up of Amanda's bed, going from top-left to bottom-right. Amanda's black clothes are discarded on the bed.
Panel 4:
Medium-full shot of Amanda. She is now looking at the window's direction and the camera is aiming at her two o'clock. She is on the process of closing a red blouse she just put on, her hands are on the open sides of the garment. The blouse is still open and showing a white, lacey bra underneath. She is already wearing her usual, fake glasses.
PAGE 8:
This page is composed of four panels, all of them going from side to side of the page.
Panel 1:
A knees-to-waist shot of Amanda. The camera aims at her eight o'clock. She's wearing a red blouse and black pants. Her left hand can be seen holding a set of keys. She's now at the living room of her parents' house (and this time, she used the door). The walls covered in beige wallpaper with the kind of patterns you'd expect to see at your parents or grandparents' house. Light brown velvet couches and a varnished wood coffee table with a flower pot on top can be seen in the background.
Panel 2:
Full shot of Amanda. The camera aims at her ten o'clock. She's sitting on her parents' bed with her left leg on the bed and flexed under her right leg. Her attention is on the documents she has on her left hand, and her right hand is holding a similar load. Both of her arms are flexed in 70 degrees. There are several folders on the bed and the room's closet is open.
Panel 3:
Close-up of Amanda. The camera aims at her 12 o'clock. Her eyes are still on the documents in her left hand, and her face portrays the kind of shock you'd throw from a positive result on an A.I.D.S' test, the color leaving her face for a moment. Same pose as on panel 2, but her right hand is letting the papers she was holding slip from her grasp, the papers falling to her lap.
Amanda: What…
Panel 4:
Tight shot of Amanda's lips. Her mouth is parted in stupor. Panel's background is black.
Amanda: …is this…
PAGE 9:
This page is composed of four panels, all of them going from side to side.
Panel 1:
Close up of Amanda's hips. The camera is aiming at her eight o'clock and she's at the right corner of the panel. In the background, James is talking to a grey-haired doctor, both facing each other, the camera aiming at James' three o'clock in a Medium Full Shot. James is wearing a white shirt with the sleeves rolled, while the doctor is wearing a typical white coat. Present-day James contrasts with the one from 20 years ago, having gained weight, gotten grey hair, wrinkles, and a slightly receeded hairline. The scenery is a waiting room outside E.R. Add at least three other people as well as a wall-mounted T.V in the background.
Doctor: She's back to consciousness, you can see her now.
James: Thank you so much, doctor.
Panel 2:
Close up of James. The camera aims at his two o'clock, but his head is facing one o'clock.
Amanda: Dad?
Panel 3:
Lateral, medium 2-shot of Amanda and James, they're looking at each other. James is on the left of the panel. Amanda is handing him a folder with the required papers. She looks crestfallen.
James: Thanks pumpkin. Mom is fine now, but the glucose test says she's diabetic. She had a diabetic shock.
Panel 4:
Close up of Amanda. The camera is aiming at her ten o'clock. She has a shocked look in her eyes and her mouth is wide open. Add one or two people in the background.
Amanda: …oh my God.
James: *sigh* I know pumpkin, I know. I'd just like you to be calm and smiling when we go see her, okay? The last thing your mom needs is seeing us in a wreck.
PAGE 10:
This page is composed of six panels on a 2x3 grid.
Panel 1:
Lateral, medium 2-shot of James and Amanda hugging. James is at the left side of the panel. Amanda's head rests on James' right shoulder in the hug. She still has a troubled expression, but with hints of resignation.
James: Some exercise, the right food, and she'll be fine. Now give your old man a hug.
Amanda: Okay.
Panel 2:
Lateral, medium 2-shot as in panel one. They're parting now from the hug, and James is resting his hands on Amanda's shoulders. James is smiling a tired, but comforting smile, this was an ordeal to him but he's still the man of the house and is putting a brave front for her daughter. Amanda is smiling a weak smile, yet still making an attempt to smile, both for her and her father.
James: Now, I see there's something else in your mind, isn't it?
Amanda: Not right now dad, we can talk after we go see mom. Okay?
Panel 3:
Close up of Amanda. The camera aims at her ten o'clock. She has a serious look on her face. Her right hand is tugging a side of her blouse, undoing a couple buttons to momentarily reveal her Hawke's costume underneath.
Amanda: But yes, I think there's a lot to talk about after that.
Panel 4:
Full shot of a random, young man. This is a cameo of Lawrence Albright from Black Shadow's title, visual reference here. He's sitting at the edge of a row of seats at the waiting room, leaning forward and holding a foam cup of coffee with both hands. His eyes are wide open as he looks with sudden interest at his cup. Behind him and to the left of the panel you can see Amanda's backside in the background.
Panel 5:
Tight shot at the cup in Lawrance's hands from a high angle. There are ripples in the dark liquid as well as minimal motion signs at the hands. A small quake is taking place.
Panel 6:
Medium 2-shot of Amanda and James, same positions. James now has his hands back to his sides, and his head is facing at his 2 o'clock. Amanda is mirroring his position, her head facing at her 10 o'clock. Both have a startled look on their faces.
James: It's…
Amanda: …another earthquake?
PAGE 11:
This page is composed of five panels. The first four on a 2x2 grid. The last panel goes from side to side of the page.
Panel 1:
Same shot as in Page 10/panel 6, but James is holding up a hand in front of Amanda. He is squinting slightly with a pensive expression.
James: Don't fret pumpkin, it's a small one. It will pass shortly.
Panel 2:
Same shot as in panel 1. James now has a relaxed smile on his face. Amanda still has her mouth open, but is starting to calm down.
James: See? It's gone.
Panel 3:
The obligatory Stan Lee cameo (or insinuated at least, make him a dead-ringer for Stan, just not an actual portrait in order to avoid potential trouble). ¾ shot of Stan Lee and a nurse. Good old Stan is at the left of the panel. His arms are flexed and he's looking down at his partially open, shaking hands. The nurse to his right is holding his arm and has that typical "nurse smile" on her face.
Stan: It's still shaking…. Still shaking.
Nurse: That's just your Parkinson, don't worry sir.
Panel 4:
2-shot Close-up of Amanda and her father. This time, Amanda is at the left of the panel. They're still both facing each other, but her head is facing to the camera. Her eyes are looking up at the wall-mounted T.V nearby, same as James. Amanda has once more shock on her face, eyes wide open, pupils contracted.
Amanda: I don't know what I'd have done if it had been a quake like last OH DEAR GOD!
Panel 5:
Wide shot of South Street Seaport Bridge from a high angle. We're watching I.N.N's news on the hospital's T.V so please add the same features as on Page 3/Panel 1 (the time now is 6:40, and the sun is setting). The section of the tower Amanda was welding at the beginning of the story is now partially collapsed (using THIS as reference, the tower at the right, first column at the left) having taken a surrounding chunk of the bridge. The traffic is stopped, a taxi is hanging at the edge while another car is falling. Several of the suspension wires are now loose.
Amanda: N-no! The bridge, I swear I…
PAGE 12:
This page is composed of five panels. Panels 1 and 2 are next to each other, using ½ page in height. Panels 3 and 4 are on top of each other, using the bottom-left quadrant. Panel 5 is on the bottom-right.
Panel 1:
Lateral medium full shot of Amanda and James. Amanda is at the left of the panel, and she has her back to James. The way her hair flows denotes the quick spin motion she just did. Her face is 2 parts mortification and 1 part guilt. James is holding Amanda's left wrist to stop her. His face is dead-serious.
Amanda: I must go, I'll…
James: Amanda, wait.
Panel 2:
Again, medium full shot of Amanda and James. Amanda just spun back to face her dad (again, reflect this in the way her hair flows). Her mouth is wide open in protest. Line James' chat balloon with an interrupted line to denote whispering.
Amanda: Dad! Let me go!
James: This isn't one of your "secret Samaritan" trips, this is live T.V. Everyone will see you!
Panel 3:
Tight shot of James' eyes, the camera aims at his 2 o'clock, his eyes are still dead-serious with concern. Line Amanda's chat balloon for whispering.
Amanda: Dad. The people… please… they're dying.
Panel 4:
Same as panel 3, but his eyes are shut in defeat. Line his chat balloon for whispering.
James: Just… be careful. Please.
Panel 5:
Lateral, medium full shot at Amanda. The camera is aiming at her nine o'clock. The way her hair flows denotes she's walking with haste, close to jogging. Her right hand is keeping her blouse closed. Her face shows worry and her eyes seem to be darting around. Her chat balloon is one for thoughts.
Amanda: I just need to… no, no time to change clothes at home, but I still need someplace to take these off.
PAGE 13:
This page is composed of four panels. Panel 1 is half a page in length and ¼ page in height. Panels 2 and 3 are one on top of each other, both in the same row as panel 1. Panel 4 bleeds on the rest of the page.
Panel 1:
Tight shot of the back of Amanda's hands. The camera is aiming at her nine o'clock. Her right hand is holding a doorknob which is closing with a discreet "click" (show the onomatopoeia please). Her left hand is above her right one, pushing the door softly.
Amanda: Laundry room will have to do, but…
Panel 2:
Medium full shot of Amanda, but only up to her neck. The camera is aiming at her 12 o'clock. She's opening her blouse with both hands, showing her hawkes' uniform underneath.
Amanda: …I'm so…
Panel 3:
Tight shot of Amanda's feet. Her pants are pooling at her feet, she's wearing the hawkes' boots. Add motion signs that denote the pants just slid down.
Amanda: …gonna…
Panel 4:
Long shot of Amanda. The camera is aiming at her 2 o'clock. She's looking down at herself with a red face that mixes embarrassment and disbelief. Her mouth is open. She's already in costume and her pants are pooling on the floor at her side. Her face is down and to her right. Her right is horizontal and flexed in a 90 degrees angle, half a foot below chin's height with her forearm in front of her. Her left arm is to her side and slightly flexed in a 120-degrees angle, hands open. Her knees are only slightly flexed (150 degrees angle perhaps). On the background, there's a big laundry machine to the left of the panel, and a laundry cart to the right. A towel is hanging from the cart's side. Walls are beige.
Amanda: …die after this! I must really ask dad about this costume and the woman in the photograph, provided I don't die of embarrassment out there first.
PAGE 14
This page is composed of five panels, all of them ¼ page in height. Panel 1 goes from side to side of the page. Panels 2 and 3 are both on the second row. Panels 4 and 5 go both from side to side of the page.
Panel 1:
Low angle, long shot at a taxi. The camera is aiming at the taxi's 1 o'clock. The front half of the taxi is hanging from the chasm made when part of the bridge collapsed.
Taxi: Okay, c-calm down….
Panel 2:
Lateral, medium 2-shot of Harold Fitzgerald inside the taxi (reference HERE). The camera aims at his three o'clock as if the dolly was standing right outside the cab and we had removed the door. The shot is tilted to the right (not so much a dutch tilt as the fact that the taxi is hanging and close to falling). Harold is pressed against the back of his seat, both arms to his sides and pressed against the back of his seat just as much, as if he could hold the taxi and prevent it from plummeting. He is wearing his usual cap, jeans, and a plain black t-shirt. His head is tilted back. His eyes are wide shut and he is talking through clenched teeth.
Harold: Help… help is bound to come, r-right? A-all we have to do is… w-wait... Wait here… and not move…
Panel 3:
Frontal close-up of the taxi driver. His open mouth and eyes reflect his terror, cold sweat running down his face, his hands clenched around the wheel. His terrified eyes are looking at Harold through the rear-view mirror. Harold is partially visible in the background. The driver's appearance is up to you, just for God's sake not black and not hindu.
Panel 4:
Frontal, low-angle, medium full shot of the taxi. The taxi is tipping further towards the chasm. The driver's door is open. The driver is resting his right hand in the open door, his head pokes out as he turns in the bridge's direction, about to risk the jump out of panic.
Harold: Wait! No! What are you doing!?
Panel 5:
High angle, ¾ shot at the taxi driver. The camera aims at his 1 o'clock. The driver is jumping in order to grab a ledge. On the background we can see the taxi with the driver's door open, the camera aiming at the taxi's 7 o'clock. Harold's panicked face watches the driver through the open window. Use large, hand-drawn fonts (or equivalent) for the chat balloon.
Harold: WAIT!
PAGES 15-16:
Here I want a double splash page. This is Superhawke's public debut so I want it on 2 pages. This splash will be composed of 5 panels. Panels 1 through 4 will be at the top, all on a same row across both pages, using ¼ page in height. Arrange them right next to each other with minimal spacing. Panel 5 uses the rest of space. Both panels 1&2 will share a same chat balloon on top of them, with large fonts:
Shared: HEEEEEEEEEEEEEEEEEEEEEEEEELP!
Panel 1:
(very)Low angle, full shot of the taxi. The taxi is falling off the bridge.
Panel 2:
Same shot as Page 14/Panel 5, but it's now a higher angle. The driver's jump came some inches too short, and he's now beginning to fall as well. He is looking up at the ledge now away from his grasp as he falls to his doom.
Panel 3:
Medium full shot of Harold with a severe dutch tilt. The camera is aiming at his 3 o'clock. He is hitting the front seat as the car somehow stopped mid-fall and recoiled. His arms are flexed with his open palms against the front seat in a (failed) attempt to stop himself. He is grimacing with his face to the camera as his body hits the seat.
Panel 4:
Close-up of Harold. The camera aims at his 2 o'clock. He is looking up, his head out of the window. The taxi seems to be suspended diagonally.
Harold: What…
Panel 5:
High angle, wide shot of Amanda. The camera is aiming at her 1 o'clock. She is flying as she holds the taxi with her right hand and the driver with her left. She is looking up as she takes both back to safety. Her face shows determination but not overly serious. Her cape and hair are moving with both the motion of her flight and the wind. She is holding the car by the hood, her fingers hooked inside Harold's open window. Harold is poking his head out of the window, watching Amanda dumbfounded. His mouth is as open as his eyes. Amanda is holding the taxi driver by the back of the neck of his shirt. The poor driver has his arms extended to his sides and flexed in a 90 degrees angle, downwards. His knees similarly flexed as he is still cringing in shock.
Harold: …the hell?
PAGE 17:
This page is composed of five panels. Panels 1,2, and 5, go from side to side. Panels 3 and 4 are next to each other on the third row. Panel 3 is 1/3 page in length, panel 4 using up the remaining space.
Panel 1:
Wide Close-up of a crowd of onlookers (appearance up to you). The camera faces the crowd. The whole crowd is all staring at something in the sky, awestruck to the last of them. The center of the crowd is shadowed by something above them.
Panel 2:
Low angle wide shot of the same crowd of onlookers. The camera aims at the crowd's back. They're all looking up and at the background where Hawke, shadowed by the sun's glare (she's right in front of it from our perspective), is slowly hovering down with the taxi and the driver in her hands.
Panel 3:
Tight shot of Harold's right eye. The eye is wide open and the pupil is contracted. Harold is experiencing the kind of shock induced by a sudden reality shift.
Harold: It… it's real…
Panel 4:
Low angle, lateral, ¾ shot of Hawke. The camera aims at her 3 o'clock. Her right hand is holding the car by the back of its hood (as in previous panels). She's looking straight ahead and doesn't seem to be aware of Harold. The sun is at her back, so her front side is slightly shadowed. Add a loose suspension wire or two in the background in addition to the blue sky.
Harold: Just like in comics… but real…
Panel 5:
Wide shot of Hawke putting down both the taxi and the driver. The camera aims at her 10 o'clock. She's surrounded by onlookers. Her left hand just released the driver, who is throwing himself at the floor with both arms extended. The driver's face is flowing with tears.
PAGE 18:
This page is composed of six panels, all of them ¼ page in height. Panels 1 and 2 are next to each other in the same row. Panel 3 goes from side to side of the page. Panels 4 and 5 go next to each other (as 1-2). Panel 6 from side to side.
Panel 1:
Lateral, ¾ shot of Hawke taking flight again. The camera aims at her 3 o'clock. The flowing motion of her hair and cape denote she's taking off in a diagonal trajectory. Her back is straightened up, her shoulders and arms are behind her, the arms pointing at the 7 o'clock. Her right leg is flexed in a 45 degrees angle, her thigh perfectly horizontal. Harold's chat balloon denotes he's shouting off-panel from the 8 o'clock.
Harold: Hey, wait!
Panel 2:
(light)Low angle, close up at Harold. The camera aims at his 2 o'clock. He's peering from an open window, still inside the taxi. His hands are cupped around his mouth as he shouts, looking up at Hawke. His brow slightly frowned from the effort of shouting.
Harold: Three more cars fell to the water! Three!
Panel 3:
High angle close-up at Hawke. The camera aims at her 11 o'clock, but her head is turned to her 2 o'clock. Her hair flows reflecting the sudden turn. She is at the right of the panel. Down in the background, we can see the taxi with Harold peering out of the rear window. He is smiling and giving Hawke a thumbs up (he got over the shock already, and now is "living the dream", even if vicariously). To the taxi's left, we can see the driver doing his best impersonation of John Paul II, on his knees and bent over, kissing the floor repeatedly.
Hawke: Thanks, I'm on it!
Panel 4:
Long shot at Amanda (or her blur at least). She's diving at the water as fast as to leave both a visual blur and a splash of water. Her boots are still visible.
Panel 5:
Long shot at Amanda (that's really her this time). The camera aims at her 10 o'clock. She's coming out of the water with a car (model of your choice) above her head, lifting it with both hands.
Panel 6:
High angle, close up at Hawke. She's at the right of the panel. The camera aims at her 11 o'clock, but her head is turned to her 2 o'clock as in panel 3, but she is rising her arms above her head. The car above her shadows her. Her wet hair is matted to her head and her skin is glistening with a coat of water. On the background, we can see the crowd of onlookers has closed around the taxi. Hawke's eyes and mouth are wide open as she shouts at the people.
Hawke: Excuse me! Make room please!!
PAGE 19:
This page is composed of five panels. Panels 1, 2, and 5 go from side to side. Panels 3 and 4 are next to each other on the same row.
Panel 1:
Same shot as in Page 17/panel 1, just change some faces and add new ones. The crowd is big, some of them are staring in amazement, some in joy, and some are in shock. The shadow over the crowd's center is slightly bigger.
Hawke: People is drowning! Move!
Panel 2:
Wide shot of Hawke in the middle of the crowd. She just landed with the car in her back. The back of the car is touching the ground while the front is resting on Hawke's shoulders. Hawke's knees are flexed in a 120 degrees angle and her hands are still supporting the vehicle. She is frowning with a face of "told you so, dammit!" Both her body and the car are soaking wet and dripping all over. The crowd is hastedly stepping back just now, having waiting to the last frikking second to move (don't you love people?). Hawke is more or less in the background, as there are at least two onlookers closer to the camera than her (one of them in medium full shot, at the right of the panel). All of them are looking at Hawke, with their backs to the camera. One of them just landed on his bottom right in front of her. To the right of this one, another is crawling away while still looking back (this one is the only one not with his/her back to the camera). Mix men and women in the crowd as you see fit.
Hawke: Thank you very much!
Panel 3:
Close up of Hawke. She is underwater, and diving downwards as she faces the camera. The camera is looking up at the surface from below as if in a very low angle. A trail of bubbles surrounds her all over and goes all the way to the surface. Her hair moves and undulates with with the water. Her arms are to her sides, aiming at the 5 and 7 o'clock respectively.
Panel 4:
2 shot close-up of Hawke and a driver trapped inside his car. The camera aims at the man's 10 o'clock, and he is to the right of the panel. His face is filled with terror. His left hand is open and pressed against the closed window, his right hand balled into a fist and hitting the window in a desperate plea for help. On the left of the panel, Hake is looking at him. Her hair is flowing upwards.
Panel 5:
¾ shot of Hawke. The camera aims at her 11 o'clock. She is holding the car she just rescued high above her head with both hands. Her left leg is lifted and she is pushing back another car with her foot, to its driver's chagrin.
Car pushed: Hey! My car!
Hawke: I said this is an emergency! Thank you!
PAGE 20:
This page is composed of four panels. All of them go from side to side.
Panel 1:
Medium-full shot of Larry and his pilot. The camera aims at their 5 o'clock and is distanced as if the dolly was placed on the backseat behind Larry. Superhawke and the crowd can be seen on the background from a high angle.
Larry: Get closer! Closer!! No no, I mean to the left, give me a good angle!
Panel 2:
Wide shot of Superhawke taking off after having finished her good deed. The camera aims at Hawke's three o'clock. The pose is the same as Page 18/panel 1, but she is looking at her 3 o'clock and down as the people as she flies off. On the background, you can see Larry's chopper at the right of the panel.
Panel 3:
Lateral, wide shot at Hawke and the news' chopper. The camera aims at Hawke's 3 o'clock. Both Hawke and the chopper are (almost) facing each other. Hawke is at the panel's 8 o'clock while the chopper is at the panel's 3 o'clock. Hawke has a look of sudden surprise on her face. The way her hair and cape flow denotes she did a sudden stop mid-flight. Her arms are to her sides and her legs flexed.
Panel 4:
Close up of Amanda. She is still soaking wet, her hair matted to her head. Her eyes are wide open as she gives Larry's chopper a "deer in the headlights" look, recognizing the chopper.
PAGE 21:
This page is composed of five panels. Panel 1 goes from side to side, using ¼ page in height. Panel 2 uses ½ page in both length and height. Panels 3 and 4 are on top of one another, ¼ page in height and both next to Panel 2. Panel 5 uses up the remaining space.
Panel 1:
Same as Page 20/panel 4, but add a layer with the same arrangements stated in Page 3/panel 1 to denote we're watching I.N.N's news on a TV screen.
Panel 2:
Medium full shot of a man in an arm chair. The camera aims at his 5 o'clock. The man has spun his chair away from his desk, and is now facing the huge window behind the desk. His right hand is holding the phone's speaker to the side of his head, concealing his face and stretching the cord. What we see of his head is his black, graying hair. He is wearing a green, military jacket of which we only see the arm.
???: Yes, I'm seeing it.
Panel 3:
Tight shot of the man's right hand and the phone's earpiece he's holding. The camera aims at the man's 2 o'clock.
Speaker: Your orders, general?
Panel 4:
A shot from the man's waist to his chest, light low angle. The camera aims at his 11 o'clock. His left hand is resting on the chair's arm as he talks. On his jacket we can see the amount of medals and insignias corresponding a general.
General: Schedule a meeting for the 2000 hours. I'll call the president.
Panel 5:
High angle, tight shot of the general's desk. The chair's shadow is projected over a folder on top of the desk. The folder's tab says: SUBJECT ZERO. There's also a romp desk toy at the desk's left and a Montblanc fountain pen at the folder's right.
Speaker: Yes sir. Thank you sir.
Suggested Collections
Script for 
. Now let's just add an artist and a publisher. 
. Now let's just add an artist and a publisher. Comments0
Join the community to add your comment. Already a deviant? Log In