PAGE ONE (Five Panels)
PANEL ONE
New York City, 1952. Harlem. Late afternoon. Street level. Looking across
the street as a punishing rain falls from the sky, washing the city in shades
of gray. The sidewalks are deserted. The storefronts look dark and unoccupied.
A 1950 Pontiac Super Delux Catalina makes its way up the avenue. (Picture
of car)
CAPTION: HARLEM – 1952
PANEL TWO
Tight view of a puddle along the curb of the same street. The taillights
of the Pontiac appear in the reflection on the water, driving away. On the
curb itself, there are two little feet in battered, wet leather shoes.
NO DIALOGUE
PANEL THREE
Redux of Panel One with the inclusion of a White Mother and her Toddler
Daughter standing stoically on the sidewalk, staring straight ahead. The drenched
pair appear to be homeless and hungry, each wearing only the flimsiest of
raincoats.
NO DIALOGUE
PANEL FOUR
Over the shoulder of the Mother and Daughter, revealing what they are
staring at so intently. A small café sits across the street. Its interior
lights shine through the main window, serving almost as a beacon in this downpour.
The name of the eatery is depicted on the window, “MONA'S”.
NO DIALOGUE
PANEL FIVE
Drifting further behind the Mother & Daughter, a strange appendage
pokes out from the bottom of the Mother's raincoat. It seems to be some type
of tail.
NO DIALOGUE
PAGE TWO (Five Panels)
PANEL ONE
The brightly lit interior of MONA'S, a typical old-school diner atmosphere.
Occupying the center foreground, a heavy-set black male sits at the counter
and reads the latest edition of the times. The main headline of the paper
reads 'TRUMAN DECLINES' on the first line in large, bold text. 'PRES REFUSES
NOMINATION' on the second line in smaller print. A secondary headline down
on the right-hand column reads 'Trotters Complete First Trip of Globe'. This
customer and his newspaper represent the focal point of the panel. The following
background should be present, yet not so detailed that it detracts the reader
from the foreground. Over each of his shoulders, a booth is situated against
the opposite wall. His massive head blocks the appearance of the middle booth.
In the booth over his right shoulder (our left), four devious young black
teenagers occupy the booth. Sitting in the other booth, located over his left
shoulder (our right), a lone young black teenager carefully studies something
lying on the table, his back towards the group of four bullies.
FAT MAN: MORE BAD NEWS FROM KOREA.
PANEL TWO
Move in past the large male at the counter, now focusing on the five youths
in the background. The booth previously blocked by the robust customer's head
is empty. In the left booth, the four bullies of various sizes are stuffing
a straw with a wet wad of paper in preparation of a spitball. In the right
booth, the studious loner, Isaac Himes, intently reads what appears to be
a comic book.
BULLY #1: DON'T PUT TOO MUCH. IT'LL GET STUCK IN THE STRAW.
PANEL THREE
Same angle as Panel Two. The smallest bully, seated in the outside seat
on the right side, turns around with the deadly straw up to his lips. His
cheeks indicate he is sucking in air, ready to send his moist projectile hurling
at Isaac. Isaac is unaware of his impending doom as he closes his comic shut.
FAT MAN (Off-Panel): THOSE KOREANS WOULD NOT LAST A WEEK IF THEY SENT OUR BOYS OVER THERE.
PANEL FOUR
Same angle as the prior two panels. The dreaded spitball impacts upon
the right ear (foreground) of Isaac. Small bits of spit spray off due to the
impact. The small shooter bully raises his arms in a V, basking in the glow
of his sneak attack.
FAT MAN (Off-Panel) 1: IT'S JUST
THE WHITE MAN AFRAID TO GIVE THE BLACK MAN GUNS.
FAT MAN (Off-Panel) 2: THINKS WE'RE STILL SLAVES WAITING TO REVOLT.
PANEL FIVE
Overhead shot of Isaac and his booth as he picks the wet wad of paper
from behind his ear. He continues to face forward, not acknowledging his tormentors.
The cover of his comic book is revealed; an EC Comic from the era, entitled
“WEIRD SCIENCE”. The cover image is a ghostly image of blonde
mother and daughter walking away from a crashed spaceship.
FAT MAN (Off-Panel) 1: DON'T THEY
KNOW WE JUST WANT TO PROVE OUR WORTH?
FAT MAN (Off-Panel) 2: TO SHOW OUR STRENGTH?
PAGE THREE (Eight panels. Two equal tiers of four panels.)
PANEL ONE
The largest bully, seated across from the spitball shooter, stands up
from his seat and looks intently at the back of Isaac's head.
NO DIALOGUE
PANEL TWO
The bully has made his way to Isaac's table and stands menacingly over
Isaac, who refuses to acknowledge him.
MONA (Off-Panel): JUST LEAVE THAT POOR BOY --
PANEL THREE
Close-up of the bell hanging just above the front door of the eatery,
set to ring whenever the door is open or closed. The door is being opened,
thus the bell is about to ring.
MONA (Off-Panel): -- ALONE.
PANEL FOUR
Long shot of the restaurant's front entrance area. The White Mother &
Daughter from the first page stand dripping wet. Mona, the robust proprietor
of the establishment, stands next to them. Her body is directed towards the
location where the two boys would be sitting, but her head has turned towards
her new arrivals. A look of bewilderment registers on Mona's face.
NO DIALOGUE
PANEL FIVE
The Fat Man behind the newspaper has turned his attention to the ladies
at the front. His expression also displays uneasy intrigue. Caucasians obviously
do not frequent this establishment.
NO DIALOGUE
PANEL SIX
Isaac and his bully direct their attention to the situation at the front
entrance. They are unsure where this is leading.
NO DIALOGUE
PANEL SEVEN
The Mother leads her tiny Daughter over towards the counter as Mona makes
her way behind it to service her new customers.
NO DIALOGUE
PANEL EIGHT
The Bully has redirected his attention towards Isaac. Isaac, however,
is engrossed with the mystery women. He is unaware that the bully is still
there.
BULLY #2: I NEED A QUARTER.
PAGE FOUR (Eight Panels. Three tiers - Three, Two & Three Panels)
PANEL ONE
Over the shoulder of both Isaac and the Bully looking down at Isaac's
table -- The over-sized Bully still looms over Isaac. However, Isaac has turned
his attention to the cover of his comic book. The similarity between the Mother
& Daughter on the cover to the eatery's mystery guests is downright eerie.
BULLY #2: I WANT AN ICE CREAM. GIVE ME A QUARTER.
PANEL TWO
The Mother stands at the counter facing Mona. Mona does not appeared too
pleased to be serving this pathetic looking individual. The little girl, standing
at her mother's side, is focused on the interaction between Isaac and the
bully and stares intently in their direction.
MOTHER: WE WOULD LIKE ONE ICE CREAM CONE.
PANEL THREE
Isaac starts to stands up from his seat. His attention has return to the
Mother & Daughter. The Bully, however, is still trying to get Isaac's
face. His three cronies watch attentively from their booth.
ISAAC: TOO BAD. I ONLY HAVE ONE
QUARTER.
BULLY #2: YOU WANT TO GET HURT, HIMES?
PANEL FOUR
Back to the scene at the counter between the Mother and Mona. Mona on
the left side of the panel, Mother on the right. The Mother appears rather
anxious, as Mona continues her look of displeasure.
MONA: DO YOU HAVE ANY MONEY?
MOTHER: NO.
PANEL FIVE
Close-up of the Daughter's angelic face. She continues to cling to her
mother's side, but remains focused on the situation between Isaac and his
antagonist.
MONA (Off-Panel): THEN, I CANNOT HELP YOU. THIS IS A BUSINESS.
PANEL SIX
Close-up of the Mother's anxious face. She appears extremely desperate.
As if the fate of the world rests on this one ice cream cone.
MOTHER: MISS, I THINK IT WOULD BE IN YOUR BEST INTEREST TO GIVE THE GIRL AN ICE CREAM.
PANEL SEVEN
Long shot of the three ladies, locked in their ice cream debate. Mona
looks downright angered. The daughter is still facing Isaac's booth, however,
her face appears as if she is screaming at the top of her lungs.
MONA: WAS THAT A THREAT? ARE YOU
THREATENING ME?
DAUGHTER (screaming): ICE CREAM.
PANEL EIGHT
Back to Isaac and the Bully. In a surprise move, Isaac has stood up and
is not as meek as one would expect. Standing straight up without his shoulders
drooping, he is almost as large as the bully. With a swing of his arm, he
is pushing his way past the bully and heading towards the confrontation at
the counter.
ISAAC: I THINK I CAN FIX THIS.
PAGE FIVE (Five Panels)
PANEL ONE
Over Isaac's shoulder as he rushes into the tense situation between Mona
and her impoverished customers. He holds up his hand for Mona to see. Locked
between his thumb and forefinger is a bright, shiny quarter.
ISAAC: HERE, MONA. I'LL PAY FOR IT.
PANEL TWO
Reverse angle over the Mother's shoulder. The pride shown in Isaac's cannot
be contained.
MOTHER1: THANK YOU SO MUCH.
MOTHER2: YOU CANNOT BELIEVE WHAT THIS MEANS.
PANEL THREE
Isaac, down on one knee, hands the vanilla ice cream come to the outstretched
arms of the appreciative little girl. Mona and the Mother on at the exchange.
DAUGHTER: THANK YOU, MISTER.
PANEL FOUR
From the outside of the restaurant, the Mother & Daughter head back
out into the rainy afternoon. The Daughter intently licking her Ice Cream
cone. Isaac looks on proudly from the doorway as the four bullies loom angrily
behind him.
NO DIALOGUE
PANEL FIVE
Redux of Panel Four as the Mother & Daughter mysteriously fade away.
The four bullies' faces now register shock and horror, but Isaac is not surprised
at all. Some part of him expected that to happen.
NO DIALOGUE
PAGE SIX (Six Panels)
PANEL ONE
The Mother & Daughter still dressed in their battered clothing are
walking in a sea of white. The background is an utter whitewash. The daughter
continues licking on her ice cream treasure.
VOICE (Off-Panel): SO PRINCESS, DO WE HAVE A DECISION ON PLANET R-582?
PANEL TWO
The two continue on their way, walking through the whitewash. The Mother
has begun taking off her saturated clothing. The Daughter takes a break from
her ice cream cone.
DAUGHTER1: PUT A DELAY ON THE EXECUTION
ORDER.
DAUGHTER2: THOSE PEOPLE SHOW PROMISE.
PANEL THREE
The pair has stopped walking. The Mother has disrobed down to a white
slip. Her clothes lay on the ground. Her arms and legs are actually composed
of crimson scales. Her face and neck, however, still appear human. Her chest
is flat as a board. The Daughter has returned her attention to the ice cream
cone.
VOICE (Off-Panel): PLUS, YOU LIKE THEIR CREAM OF ICE.
PANEL FOUR
The Daughter stares up at what should be a ceiling as registers an expression
of disdain and “As If”. Her “Mother” is in the process
of pulling off her head, which appears to be some form of mask.
DAUGHTER: NO. NOT BECAUSE I LIKE THE ICE CREAM.
PANEL FIVE
The mask on the “Mother's” head appears to be stuck and she
is unable to get it off. The Daughter stares at the ice cream cone, contemplating
the disembodied voice's comments.
NO DIALOGUE
PANEL SIX
The “Mother” storms off-panel in search of help in her mask
removal. The Daughter returns her attention to the unseen ceiling.
DAUGHTER: SO, HOW MANY MORE COWS DO WE HAVE TO MUTILATE FOR YOU GUYS TO FIGURE OUT HOW TO MAKE THIS STUFF?
"FIRST STONE CAST" © 2002 Michael Wojciak
