The Art of the Story!

eer4

The storyboard is a meansof writing a film and planning its

production which began in animation and has spread thloughout the film
industry. ANIMATO! launchesa semi-regularfeature in this issue,"The Art
of the Storyboard."With the production of many animated films divided
between various animation studios, the storyboard (along with model sheets
and layouts) must be a strong guide to insure what the writer and director of a
film actually wanted is accomplishedby a team of animatorsfrequently halfa-globeaway. Storyboardsvary accordingthe creativeprocesson a pioduction,
and they reveal much on how an animatedfilm is created
1n this issue,we presenta look at how the Disney Studio in its prime
worked on a storyboard,and then a partial storyboardfrom "The Laughing
Fish," from Batfiafi: The [Link].
GMD

The legendaryCart Batks (left) and Harry Reevespresenta stotyboard for the
1938cartoon Good [Link] drawings replesentingthe flow of the
narrative wele literally pinned up on the wall, and the writers would act out
the dialogue.(@Walt DisneyStudios)

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the
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for

production

o doLrbtyoLtrrnincls!'/irlsu/:ihlrt- whereeveryone
canseetnem.
prctures
tle pictLrres.
that repre- Andthat is wherethe storyboard

sentyouricieas.
comestn.
''
" on
CaptLire'rhese
icleapictLrres

vicleotape.
and errerybocly
can enjoy PictureThisVideo
them.
A slo'yboardis a graphicrepresen
BULbetr,veen
you,firs:.oea-p
ctLrir tarionof yourvideo.
and yoLrrfinal cut there'sa loi to Like the comicsyor_t
see in the
clo-and a lol of i: inyolvesoeoole newspaper,
ii consistsof a series
oiherthanyor:rself.
of picrLtres
[Link]
the sceneso+
Youmlrstcommlnicaie
yoLtr
grear yourvicleo.
ideasto these [Link] theycli- SLrilgthesescenesall together.
enis or cameraooeraiors,ciearl,/andrhesepictLrres
iell yoLrr
vicleos
enougitso story.
tllat rhey Thegraphicsnee(lnot oe farcyseethe samepiciitresyor-r
clo.
hand-clrawn
stick figureswill clo.
Howcanyoube so sr:reyor:'reail Which is not to discoLlntfancy
on the samelvave
iength?
graphics-fromthe rnostelaborategetting
By
thoseicleapjctLtres
oLrt [Link]
f,re art Locomputerof your heacianclclo,,,rn
on paper generated
tlnages.

l . i , , d o r n o L .t l , e s c8 , r p h i . s u \ , r L l )
\vind up pasted ro a [Link] bori{I, rhc
s . e D c sp i c t u r e d h l i ( t l c b o l c s c o . r e
s p o t r d n r g! o r i d e o ' st h r c c b f o u r I o .
mar. Crprions [Link] picr L r r cd c s c . i b c r h e a u d i o s t o ' l . . . w h r t
t l r e c h a c t c r ss r y ,N h r t k i n d o i t u u s i c
ph$. \'h^t [Link] cnncrs binil
i\rtr1 i| Ihc bnckground.
Obioush, dctailed storyboxrdsirc
no! [Link] on elery vidco. Rough
sro|.|bolds sumce for docrmcnra
ries lhcre s simpl) no *ry to kno\f
[Link] sceDcsyou ll caplurc bcIbrchrnd. But on dr,nati. produc
tio.s invohiDg cl;[Link] [Link].s rnd lo
c,n hc\,
o r i o n 5 , I d e t a i l c . sl t o r y b o a r d
you nDriciprre an.l aloid problcors ou
rhe shoo(. Using [Link] bcfofc
[Link];ng conmerciils xrd compnr..
rninitions caD nrein thc [Link]
b c $ f e c nm o r e , ! i I r h e b r n k a n d b t s o f

( l o L , b t c , e c p \ I n b ) o nn,, i , , d .l h . n i (
c o n r e st o p u . Y o u p l . n n e d r o u s er p si(lc{loNn pic plx(.s lor thc [Link].
T h i s i s f i n c l o . r h e l o n g s h o t ,b u r y o u
r l s o h r l c r s h o t o f r h c a l i c n sg c ( r i n g
out orthc ship. Thc pic phrc mr) nor
l " ' t . o q o o . lr | 1 . , ' , , - Y { 1 .. , , r a l
r ( )f c t h i n k i t .
. u s o ,u s i n gr h e p i c r u f c sa s x g ! n l , : .
) o ! s c c) ' o t rr c s r i l ls h o f r u f c r vp r o p s \ v c s ( c r no u t l i t s .i d o . r o a s b . g , x l i c D
.kc rp, soDreho,ses llnd ol tf,zl, a
sxgc(oich. Ias bcrtcr to lcanr abont
rhcsc pfoblcnrs nr tlre phDnnrg srascs
ol yotrr pRxltcrion, rxtlrei rhrn \tcr
vo,i.c our in rh. field \,irh !ou, rcchn i c i a n sa n d r c b r s .
Okrf, so )ou go out ind gct all
rhcse props. cosLrnlcs and locarions vou knorr
ro

S r r y o u r e s h o o d r ga s h o r rc l r u , a t i . p i c c e n n o l v i n g s p a c ca l i c n si D l h c
old U'est. lbu \vrite dre s..ipt, and
rhcn [Link] rhe script into sccncs,tlrc
sceDesiDto shots. You PrePxre a Pi(,
d u c t i o n s c h e d u l c .Y o u f i i n k ) o u r e

)ou.

srori

s l r o ro l G ^ D b . vt r o n r r h c s r o i b o l d
, v o uf c a l i z et h i t t h i s n r i g h rl o o k l i l . a
jutup cur\vhr you put drc nLo tosctll
e f . Y o u g r . b i p c n c i la n < tq u i c k h d h v
a p o i n L o i v i c w s h o r f f o m J t r ns p e F
spccriveol the viclv fronl behitr.l rhe
l,o,.c.
N o w \ L h c dt o u c u ( t o G i b b r , l o u
n o t o n l ) r \ o i d t h c j ! r n p c u t ,l o u n r x k c
a s r t r r c d r e r L a b o u t r hgcf u n r P v s i d r k i c k
r h r o u g l ,t l r eu s eo l j u x m p o s i t i o n .
Tipsfrom the Pros
The professionrlsh:ivcalwals uscdstG
ryboards. Allied liitchcock plxnncd
olr h; films with storyboads to $rch
d e g r e et h r t h c f o u D dd r c a c r u a l s h o o t
ing idticlimactic.I-Ie clinncd hed
nade all rlre i.tis1ic decisiors lodg
before the crtme,-. roll"'1.
Steven Spiel

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r,o.,,,r
'ror'
hFr

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diffaranno
. r , ( , ' , 1 i .... ' .
L h ed e r r i l 5o l d r c

u p c o m i n s s h om
o io. n e y

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hAt\^/AAn

In tne

OanK

Usinq dre sto-

You re nor. Go ahead and tale (hit

extra [Link] storyboar.l.
You don'! hale to be [Link]
to d.a\v these pictures. Stick tlgurcs
a n d v a g u es h a p e sw i l l s e n e t l r c p u f
pose nicely (as long as yo! crr tell
rvha! th.l blob on dris side ofthe shot

.yro-ri,y^, -.

sho\v rhe camcra

1 . , 5i ' o \ . , . . , . , u
irJphi.\. \l,i.l'
he then [Link] t)

t r r er l a r rosr h i 5
otfice-

and lOtS Of COSIIV

'

o p . r . r ' o hr o \ ' " r e q h n n t i n d

8", rt.,r ,. rt,<
ground ior rhc
shot \vherc drc

stagecorchrolh o\er hini. Fo. rdother

shot, he u need to !iclc onc of (hc
You dfa\v fi. first shot. Thc alieDs' sragecoachhofses as he roclses back
5 p l c e s h i p d e s c e n d si u r o N l o n u m c n l a t t l r c d r n e . . { . d h e l l . r l s or c c d $ N e
V a l l e l . I n t h e n e x rs h o t ,t h e y g e t o u t o l sort ot [Link] for the orerhca.l 51,o1
t h a r s i f t u l d t e s I h c s p a c c s h i pc r n s h
rhe ship. Cur !o a strgecoachmoling
$vifdy, clouds of dus! trailing behind lnnding Of coursc,after.e\icwing dris
[Link], the d dver, whoops\vildly an.l wirh him, vou miy also nced a nc\!
cracks his long *hip a! the team of
You can sho\! dre acto.s ho\! ror'll
The aliens watch from bchind r . u r r h e d i f f e . e n rs c c n e st o g c r h c r ,s o
b u ( e . A t t h e l a s rm o n e n i , t h e y j u m p i h c y c a ng c ! a b e r l e ru n d c r s l i n d i n go l
from rhei. hiding placeand try to hol.l t h e i r c h i n c r e s a n d r h e n r o t n a d o n s
up rhe siage. G2bry, .idiDg shoLgun,
' ' S oI s h o o rm l g u Dr r r h e , l i c n sa n d
lets thcnr have it \vith borh barrels.
The aliensgo dor{r, spla(ering gfcctr n o t r h c d o c r o . , L h ci c t o r p l a ) i t r gG r b slimc. The doclor jL'i:ps tronr tllc bl sr)s aftcr sccinq thc sro,_r'boa(1,
a
[Link]. aDd quickly cxamincsonc of thc p o i n t r h a t o b r i o u n v n c e d c d c l c u i , , g
. r c i t r r e s . T h c d d l c . N . t c h e se r p e c t u p . I I o \ L c \ c r h c s r i l l h a s I q u c s r i o n
x D d y .T h c d o c t o r l o o k sL r pa r t l r c d r n
F r o n r) o u r p c r s P c c r i (rcs t h c d i r . c
cr aDd sarshoa6cly, He s dead,Jnr.
Y . n , b o k o v e . / o u r a , r \ v o r k . I f s t o r o f r l r c s h o o r ,t l r c s k r l l ) o a r d L . l p s
rough, but nonclhelcs ;t sc^cs thc rou 'nakc su.c the sho$ iou vc
p l a D n . . l, r i l l \ * ) r k r f c l l r o g e d r c . .Y o u
Purposc:you 8et you. (rca [Link].
R ( t , s ) o u l o o k c l o s c , ,a n a g g i , , g I ' r v c r s h o (o l J r n rf o l l o , r c {bl f ! \ i , i , i l r r

Hemo\es,L

them afound as

r"
P 1 " "" . , o s . c
h o * r h e th . r lf i '
togcther.
Thcse dircc
106 doD i lcale much to chan.c, a
good reason to use storyboads. Btrr
maDyprofessiodalsusestoryboafclsfor
anotlrcf gooo reason-noney.
''urherclcr Ne shoot lile productions he.e," sals Jine Carter, Stt'dio
An Represe!tativeof Napolcon videc
g . a p h i c s , a . l c o a n d a r t s t u d i ot r rN e \ v
York Ciq, \ve iravc our anist sto,)"
boiKl out cetuin scenesto shorLrlte
.lient diffcrcnt Naysto shoot dre \icle o i r c l u d i n g a v a r i e t yo f s h o t a d g l . s
and e(lidng cuts. Ifs easicr to mak. a
shoodng boa.d to sho\v a client \lrxt
t l r c c l i r c c t o rh r s i n m n r d . I t s r r e sr l ( r t
of tidrc xnd IeLscleryonc kno\v tlrcl
a r c t h i n k i | g r h c s r n r c\ v , y . '
^"[Link] [Link]
c s i n p , o d u c i n gh i g h l l p o l i s h c dr r o , k
iD yc,l sho( tL,[Link] tnncs. The
o i c k i s t o t r n d c 6 t i n d c x r c t l y\ ! h a rt h c
.!rtonrcr \{ar$ up front.
"ivost of the rtnc ilc dcal \virh rd
\crtisinS .gcncics, Cartcr sard,
''thclfc ou, biggcsr clicnrs. TI9

conre in rrith tlrei, [Link] rnd \vc go

okr rltos idels with d1cm. On.e Ne
tno\!tlhat th.v(ant, wc tr^nsfer these
insuarctionsto thc arrist drawi.g the

sdh'

;"i

s long

Spiel-

r h e m ; o r h e n v i s en . o u k l d e . n h o u 6
or ern da)r oixr.x \fo.k.
S a yF ! t U ) o n r c l i c n l N I . . N I i U e .
t h a t t h e l o g o y o u , c m a k i D gf o r h i n
will bc r huge thfee-dimensiooalsreel
sirurcturcand thar rou're drNving the
'i
doton drc
; n ' N l i l l e r ' r ob u r s r n l r o
flames,he mxljusr srareir you, glNyeyed. B hvhip o!r i sroryboafd illtre
rrdng tlrc processof rhe logo gros.
iqg" on the pige \vhile liglrr plays on
the metal of rhe lerrers, he ll follorv
your every siep- If the dor oD the "i
then burns l;! the suD,ivlr lvlillerwill
leaveyoursessionwirh slarsin hiseyes.
Storyboards for computcr animalion aren t necessarilydrawn wnh [Link] artist tools such aspencilsor [Link],
cs. Josph Eagle, arr [Link] and
anima!or atTraces,a computer animation firm in Brla Cm\ryd, Pennsylvania
uses a unique apPfoach lo ffearing
storyboards. His clieDrs inchrde the
Philadelphia Plillies and drc Unisys

" C l i e D t sl s u a l l y h x v e a n i d e a o f
how rhet wrnr (he boxrd ro look.
T h e y m i g h t w a n t i t d r a w Dr v i t h a c a r
toon stlle or theymight want;t ro be
. e a l i s t i . .I f t h e c l i e n t$ a n t s a s c e n et o
look lite ir was shot wilh a special
l c D s s, u c ha s w i d ea n g l c ,t h c a f r i s t c a n
do thar, roo. And Ne cxn do quick
pencil skerches10 malte sure that $e
c a m e n a n S l e sa r e c o r r e c to r r h a r r h e
people shown on the sloryboard are
the rightages."
For theseadverdsingagcncyclienLs,
the storyboardis no.c dran i product i o D p l a n n e r ,i t ' s a n a l l i m p o t u n ! s e l l '
'ng (ool.
'-fhe agencies use the storyboards
to sell their conmercials," [Link] says,
'1o
s h o wh o w t h e y , v o u l dl i k e t o s h o o r
i t a n d w h e r et h c y l v o u l dl i k c r o s h o o r
i(. They can have it sct in Nliarni or in
"We sit dovn and talk rbou lhar
NoNay. li's a visual tool ro help thei. they rvant, Eagle s:ys. 1\'e may s!ar!
clienLsbelrer understand \vhat rhe fin- out bydoing somereal quick and d;rqv
ishedprodut will look Iike."
thumbD^il sketchesjusr ro make sure
ive .e sPoking the same language.
,lni'natedSloryboards
Now, sa/ a clienr comes in and she
Srorybo$ds also prove invaluable want5 a }D Wavefront animadon. In\(hen planning computer animarions. stead of spending limc on dre Wave,{nyoDewho's workcd wirh an anima
front, rvhich is an expensivenachine,
tion packagc knorvs Nhlt a tidre-coD' $hat I'lldo is ger on rhe d;gital effects
suming processit car [Link]'re cre- systen, and lvith lhe 2'D rysrem,I can
ating an animation for someone clse,

c r c x r c p r c t , r L s\ ' { h r n u m b e r o t c l i f
"l ger a pro(l,rcr and rhen \Le sel up
the [Link] crnrc.a xnd Jusr shoor
sr'aight oll rhc nronito.. TheD ige ger
r h e p i c r u r c sd c l e l o p e d ,c u t r h c m o u r ,
paste them on i board nrld \rite littlc
descriptions bencrth rhcnr oi !he acriviq rhaas goidg otr in thc picrufesThe i'Dagcslook lery high qualjy.'and
in [Link] c8es, thq look almostex^ctly
how rhev fe goiDg to look i. fie 6nishe.l piece, so rhey get a real good
idea olrvhat it s going to look like. \Ve
srarred donrg rhat because\e found
rhar [Link] Nith marke6
and colored pcncils doD t conrey as
much aslidco does.

You cai mike storybonrdsdo lots of

things,bur iftlre storyboardconsisGof
picrLrrespas(edto r boa.d, rhe.e'sone
thing it \!on t do....ro!e. Using a capt i o n ,\ o t r c a Dt e l l l h e p e 6 o Dl o o k i d g . r t
th boxrd rha( rhe c^.x'.a is prnning
or dolli,ing, butyou i.e odce agatu expecrjng ihe vieNer ro be able to "see"
[Link] rlre samewayyou do. The.e a.e
' A s e r i e so f p i c t u r e s\ v i l l d o d r a r , "
sats Eagle,"becxuseir looks like some
frades thal hale been plued ou!ofnD
animadon. So there rvould be implied
move'nnr fron picrlrre ro picrure. If
it: one picrurc ud I \vant to sav dr
logo nies do\vn here l \fould put a

though thev

rgsl
ranriali

1ill

'
\ o r ! . 1 , , t s h o v u p i n $ c a c t u a lp i c c c .
'l-o
add movement to r [Link]
Nrpolon vidcogrlphic5 takcsthe p!chnrs ind ransfcrs thnr to vdcot^pc
Ihen thcy use a Processcalled drinrar
r.s \vhich uscs"loose Picces ro conle)
nrc!.mcrL ror example,srv urerc \{xs
h one of ihe story_
this nrar neededto
and
s
sceDes
boi,d
lra\c at the cameE The ca(oon mnn s
rnn \lould be a loosePiccc-1gmPh'c
imr not auchcd (o $e Pict!tre of thc
Drrn. Then when You shoot rhe mani
\ou could nove $e looseann backand
ionh * il he were waving
T\vo ofier examPles:
l) A character'senli.e bodv, Nhich
rou mole lorvard de camera,and
2) Sevcral different versions of a
ch,racrer's head, lvith each head iveaF
ing 2 [Link] exPression.
.AdvertisingagenciesuseAn'ma!'cs
r lot wirh testing," Carre. says,refcr
ridg to test marketing whsc grouPs
rieN rouEh animated co
scc borv the audienccs will reacr'
'They use Atimatics in fiese focus
groups becauseiCsa lot lesse\Pensi\
dris [Link] agencyhas ten ideas,ilt
,lot more cost elTective1odo il inAn!
matic fo.m and to test it in the focus
grolrps around the united StatestheD
ro make ten finished conrmerciah.
Thcn after tesdng they look at the re
sulls, aDd the storyboard witb re
highestscoresbccomesa realspot "

\!har you re go,.g (o s.e

'"Th!fs thc ponrr of thc storyboxtu
W h c t h c . y o u r e s e l l i n sr h e j o b i n i t i . l l l
o. you ve gor the job al,erdv, )ou rc
iu5t t$ins to establishlvhxt cxlctly is
g o i n g - t oh a p p e n .l f s s r i l lo n l ) r h e i n i ll you think all this [Link] aoon
seemsudnccessary,thin\ rgrin
'Thcre are a lo! of
PcoPlc \vho
Even
Eagle
vimally,"
srvs
don t ftink
con_
t
rcally
[Link]
don
[Link],
berween
vey picrures.T\vo ardsts ca! s't rhc.e,
and one artist can dcscribesonrething
and can write it dorvnand get asverbal
as you want sith it, and rhe odrcr $ill
be listenins and getting a nsual 'mrge
in his head, and it rvon ! be the same
[Link] be real diffcrent
'The only \iay

dring in rvords.

\ o r k i n o l h c r n , c d i r ,S r c r a b o a ' d cl'c G
rou set thc rspcct ratio to nulch thosc
of hodon [Link] HDTII.
\b( ll fin<l .n abundxnc. of rrl>
iects for to"r P'ctt'..s 'u rhc prorercrer koN
.qram'slibmrr. Or. if lou
c
i
n
p
h
o
b
i
a
,
y
o
u
rl\rt art
P r o d u c cn n _
Y
o
r
rc a Di l s o r N
i
v
l
a
c
P
a
i
|
t
u
s
i
n
q
ases
p;rt pictures by digitizing irems [Link]
ridcotape o. by scanning flat ^rnvork.
.{noth.. prograrn for sro^[Link]
is thc $430 ShowscnPeffom Lxkc
Compufratues. Avrilablc fot eitlrer
Ilacinrosh or IBNI Plafonns it nrtc_
grates hand{rawn or scannedinrages
Any paint Packagecan funcdon rs a
basic storyboard [Link]. Snnplv
m a k e a s t a n d a r dt e m P l r t e t h e n u t ' -

Usinga storyboard
willgiveyou
communication
powersyoucannot
acquireany
otherway.

ftis Deeds to be biSger over herc

Those arc the kind oi dctails no
^'nount ofvords can conle).

The EverchaflgingStorYboard
In 6e profcssionalworld, sroryboards
arejlst a part of th ProcesFnot an Sottwareto the Resc!
cnd ii thenrelvcs. That s *hv art'str I f y o u h a v ea n i t r a t i o n a lf c a r o f d . 1 w
aren r uPsct when clicnB ask lor i r g ( r p h o b i a l r a c e d t o t h a t u n t o r l u
n " t e i n c i d e n ri n y o u r r l r i r d S r a d ea r t
'
c l , r s s )r,h e r c s s i i l l h o P e T h c r . a . c a
"Tbey re ahvaysmaking ch^ngcs
'GcDerally,it's undcrs!ood couple of softlva.e
Packagesavailablc
sals Eagle.
rhat thc storyboard is not a dcvicc ior f o . t h c M a c i n t o s hd r a t c r n g c ! Y o u
nriling down cvery lst dctail Rathe., sr^.ied on rhc road to srorybox..l
i f s a g c n e r a l i , c dl o o k a n d \ e l e t r h e d '
The fi6t is thc Storyboaftlcf liot'
k n o w $ a t i f s i u s ta n a P P r
sle ^ n r c r i c i n I n t e l h v x r e .A t j u s t u I ( l c l
\vhar they'll bc getting on thc- 3-D
1hc
s
t ( > $500, it borlrs somc [Link],ral po\v
r e h . I I t b c yc o m c i n ^ n d s a y ,
si\{h
c r . T h , o ' r g ha s c . i t so f m c n t s ,y o d c a n
fituh
o.
but
thc
,aboa(l is finc
.ustomizc your storyboardhptrr fof r
prnrrc nn r righf it's no PrcUdn
w . 1 1 d oi t o v c r . E v e r y i h i l gs s t ; l l i n t h c
You can add SN{PII drne co(lc
sv\tcn. we can [Link] thcm or crcn
(
\
v
hc.c cach [Link] of !idco hrs irs
.cdo thcnr ftom scratch
.[Link] ds arc dcsigDcd ro be o N n u n i q u e I D D u m b c . , ! ' c l r a t
l L : 2 2 : 3 3 : 0 1 )t h
, c,[Link] tinr(s ro.
n , , r g hr p P f o x i m r t i o n so f \ v h r t w i l l b .
p , , x i l c c d S o t r r ca r c r c a l F n r g h a n d c r c h p i c t u r c i n y o u r n o r y b o r d a D ( l
i r n c r r c P f t : t ! yI n i s h e d , l n r lg c n e li l l y c!c! t,rnsitional cllcc$ b{:tlvcen Pnr
i r ' s w i ! : | o l ( ) o ka t t l ) c m i s r g u t r l et o t r d c s l i k { : { L p c s o r d ; s ) l v c s I l } ( ) ( l

rou co'nmunicaho'r Po\rers tot can'

not rcquire any orner waY
Your clients rvill undershn.i ror.
[Link] conccPLsimmedirtely nloNer
ingyou widl money to carry thenr out.
Youf cameraoperator Nill Pick uP on
\ o u r s u b d ci m a g e r yh, e l P i n g l o ub r n r g
fofrh hidden mcanings add subrc\ls
i ! y o u r c o m P o s i d o ncsv c n t o u d i d n r
And your actors will hile a bcttcr
rhan fifty-fifty chance of frciig in thc
ri{.hr dnec on drriDg rhcir [Link].
ObliouslY, sroryboardscan bc \ery
i p o r t a n t t o a v i d c o P r o d u c r i o r 'B ' r t
\ r h x f s n r o , ei n p o r t a D t i s t h i t I n . L e '
uscd rhc phrasc,"r sroryboa(l islodr
r t h o u s i n dN o s i d t h i sr i c l c
A t l c r s t ,D o Lu n u l D o N
Mdonaker conirihdnS .dibr
otrns r priucoon .omPrnt

lMlliam Ronat

alraontA! lvaLUAnON:0n fte Rda'lo S'drt drd

o p 0 o t r r c p a ! ! l 2 s . . i r d e t e a o p r c p r i a t n u n bi 0s'b
.dr vou o0inonol thi5adn C5ovdaLrvdu
l e 3 l k i n e i ! c l r 9 4 l r o m e v a l ! r l9 s l m o ! v a l ! d

S T O R Y B O A R DN O T E S
1. TITLE & SHOW NUMBEB
Regularand pan panelsheetsfor storyboards
availablein
storyboard
dept.
To avoidhavingto writelhe show,snameand numberon everv
sheet youshould...
A. Makesureyouareprovided
withthe sheetsfor eachshow.
or B. It you havebegunwithpanelpadsleavethe show's nameoff and
l'll'stamp'it on [Link] wouldbe a goodideato numbersheets
withshownumber,to avoldmix-uDs!
2. PAGE NUMBEBS
Neat,dark,
clearplease.
lf thereis a pageout indicateon the loltowingpageNO pAGE
plusthe numberof the pageout.
3. SCENE NUMBERS
Numberandcircletirstpanel(only)of eachscenewiththe
appropriate
scenenumber.
It the scenecontjnues
to the nextpage,number
lhe .lirstpanelof
,'(contd)
,,
the newpage,(do notcircle)write
underthe scene
number.
4. PANEL NUMBERS
Numberall panelswithpanelnumber- tractiontype EXCEPTFor
one panelsceneswhichcanbe lettwithouta panelnumber.
(Don'tbotherwith"l/1" - seesc.f 1. )
ACT II

When you are numbering

the pages,scenesand panels,
remember
that the numberscontinueconsecutivelv
throuohall
the [Link] ll doesnotstartwithpageI , scene1, iranelt i
ll youare boarding
the secondhalfot the storyboardgetthe
storyboard
co-ordinator
to findoutthe lastscenenumberand
pagenumberfromAct l.

5 . I N D I A L O G U EB O X
Doeslql require"quotation',
[Link]
speaKers
name,
(bracket)
delivery
directions,
[Link] the restof
whatis in the boxis dialooue.
6 . I N A C T I O NB O X
Circletransitions.
CUT X-DISS WtpE
Underline
[Link]. [Link].
7. UNUSED PANELS
Pleasedo notcrossout unusedDanels(alonowithdeleted
panels)theywillbrj coveredwitnblant<
oaoerl

1. TITLE & SHOWNUMEER

ACT II
.!rd|!

rEr

E-a22

B:gEC
3

3 . S C E N ENUMB Ett

,ryts
2.

PAGE N U M B E

l4

t,

".E
,a4vtet-

A.a{f,c F,c.,.!C.i :
^[Link]/ Fe|s|Z.t7

rt!-;\

[Link],-

us/

4. PANEL NUMBER
cor)

4,<

FAN

a6 ioL

@[u02i1993
6. DIALOGUE
BOX
7. ACTION BOX

NC
sTOR:FOARDI

SUGGESTIONS.
..

0f course '"tere arg o""hei- technlques and the

trick
ls to ffid a s;.5+-srl that ![Link] bes'. for
you.
ere
?.enirer ihat sDe?d and efficieicy
essentiaL riit:r +,he u-r-co[ing scxedufe.
There are ju5', as neiy techniques ',o gei frclil
rougr bo..d ',o ilnj-sr3C.
So::te jusi use +!he!r
rou;hs es a gJiie arC :_gCrav, ie:hE_:s in 51ue
pencll then bL:ck. sofle clean up ',heir th,r,!bnaifs ard xe:_ox +-:1enu? to s:ze. egein the
question is a.e lrou t:kjng ioc nany sieps?
f !,ould :[Link]:rd trac:ng iro: the rough _-o
finished siane, I'"rs ea s-r' to ike [Link];ts
in detaif anC coricos!'Licn.. -aid sevgs a s'Lep.
thus sevixg 'Llire .
Sorlhing to !'eiie:r.:ei is that pecple terd to
conpose thsir per?1s rLoo tightLy.
The use of
the "Fost:t" :rels, then .lracln ircn thal
size is e Aocd riay o.i [Link] '!hat iendency.

0Qk

{.u/

RoD6qP&a- StLe

-rrut5ipp
nua-< &e

Once agaln coriceriaa:e o:: [Link],rs lhe itost

inporLant. . . :'-a !irg ihe nc.-[Link], ercrbss ion,
.pos1n6. ho.c...iid
do:i't 6ei boEsecida,,.n in
a lot of ef:.eieous Ce:ai1nough, scetclJ.. [Link] indications are fine
if there Ls gocc design [Link] ro [Link] cn
to the lar-cu." ielaitnent.
'r;hen r,ul"i:ie
pe:leis :ie .eqcl..ed to shd,, the
action in a sh:fg
sceie, lt ls not necessary
to redrar
bg. e../e.:. ti:re unless it !s
"re
affecieci 5cielcJ
q,- the ection cr there is a.
pan lnvolved.

STORI;[Link]

The FroDe. s'.ag!ne o.f action is !e+' inportant

but the.e ere 'Lines l"'hn ihe ' " i i ^ h , i c . i h n l .
tlral nulticle
2cti,ons c:n be i:rC icatec in one
s
e
fi n 6 t l n e .
lrnel,'[Link]

<MRA4TeRern=ps 14 ,
ReA.1< | Xt6 ?/4

[Link]"AcleR

p(xs u? sl ta<

@ t'eows rt ..

excitir.g, drai:iic,
hunclous !.,ay possible.
you 5::oul-i krov :o:reil:[Link] abou:'.ie
:r:iience
yourre ainlr,g a'., Audietce prciiles
re
lverl:tle
:l;'- r !I: ;t feEs'" tell )-ou :he aae
grouF ',.at ycu'ie tEfki.g '.o. !he:.e is a
visual i::rg\:;6e ;s v:ell as e sook:i l::lgu:ge.
Iou n!gh'" ccrsid,.:'lieeaing ycu rlsual apDrcach
si-np1er ior a Jrou.:lgei age gicup.

FACIji0.

You JEclng should na+-urai\'

c linax, but no', [Link]
[Link] [Link] line.
t<:r I
Azr E

Gs3g4--+@
OPErrtaC

bulld td.,a:d the

i;1 an eveilJ-

1'herc are certain areas :hat need e liitie

exlra rrpunch" both in pacir.g end in visuai
'[Link],
Your' slorl' should have a stroit.
..
ooei1n6. Yor hive ebo..rt 2 njnules to S:-ab ?.d
hold I'our eudlences attention and keep ti:en
fron s ilching channeis. If ltrs not ln the
[Link]. lrcutve 6ot to do iL visuallyend ,r:lh'an
ecually F:a--cing
that buiL5
a u d l e n c c a n d F . a k e s t . . - - i r r a n r - tc come :ack io.
bu: [Link]
nore,
L e 6 v e r e n l a u A x b g o : [Link]

Your shoH should

vlsurf
tre, rnent

s-bq\

fHlNGrS

WA-TC+{ OvT

TD

FaR-

A.S

'TH e r./^.BNAl r-

Yo\J

Yo uR_

[Link]

[Link](.a'

11- SIMPL-E

[Link]
YouRSt4F

AND

o(.'T

WoRk

Yo!,

YreR-

t<^Jov.J

uJ HE:RE

[Link] NiCr

Y.r\J'R

'ao

lv
rN<r

BL-6e.k

I r..]-jz,r

FLooRPLrArs

cliAF..A\c-'iEt-

o\r1-

ntrA'f

.SrAGE

TJi

[Link].r<e. A

Bro.-r<,

Mov: |\4E-r'.JTS

AND

l!

\.rP

,/..N!'

Fr.s,r't- loF..l.S

Yo\ja"

C4.r49p.a

PRFe,[Link]

",

AT

I r-rars

s..re,-e,

Sf'\lr-_rtAJC<,

\^rHEF.E:

I F.J cr-;AN\rP
Yo\J'CE

FoR

YorJ'R-,

Ho(^r

[Link]-,t.r(r'

THE:R,
NC{

C.!ri-t

o\.r.f-

rr,.l e
-

wHAr

cAL!-

gTHE.R-

-Ttr

VJHIPLASH

oNL-\r,
TqEY

<-LrT

'l!tE.

-F!(E-

-THEIR
w IDE

srid-r

TS

-rH'N
'-t9

gA<-E

BAc<
^4EDtuM

vlEwE-R*

6.-r
FEEI-

NEVTI<-

YOTJR- DIAIJ'G(JE

[Link]

rvt|s;SED

rr.J
SA\/E.

or-

Forrirrs

Ac-TuA!-

HES |TAT-

>o"-r

[Link]

POS\TIOIJS

AL.s(2
IN

\.\jI DE

\^JrDg

)ouR

PoRT}.NT
BE

Atr>F\JND

(rNC-,
\\l

t^

^.rAHt

GrAcrS

IL.L-

I N\,/OI-VE.E>

E,MSTI ONAL]--Y
SER9ENCE:

\'

(rrr-!-

F(lFr'l

BAc-k
I TqeN
-TD lulE
| T'Ac-r<

r.,'or

tN

,FFE:-c-T:

SHdT

r\rEPr\rM

ra:l c- lj

yo-Yo

C.\J TTI T\TG(

\A,[Link],

MgDtvPr

THE-

p\El>r\r

-Tb

tv1 .st{ctTs
E=TAB,I-I,SH

BEEN

ED

DIA!-.o<ruE
<-u'I-Tr

FJ(d

l--6<>K

Ii?E_

pA\-)Se.S

NATUqAL--

tN

DrAtoGvE-.

TF1:

-\.-/\_?

SPAEc.r-rrc.K-rAP.
NATuCAL.

.r{E
-r!

T!1E-SE
<-UT

Lr }-)g

o\-tT - L-ouE>'

RSAD

oN

-T!{

PAUSES

c,A!

PoINTS

IN

FoR-

Youc<e,
FA\JSE

NAT\JF3'[Link],*i
A

(\[Link]

FoR)

ola,uoT,v

olq-

cvE.

cvT

NnoF

<tNE.

FF.- vr

MdTTVATE:

[Link]:rENrNk

F!-o\.J,

.S!'r I Fr

lN

-lE

'tD

FAY s

sE

DlREsrlor
ANgT!iER

sFx

[Link]

<a{
ct

soefirE

T!.li

\oeR-

PtEs'5rJ

Tx'

DrA!alJE

c-!.'T s

a\E
-To

sc-REJ.l

cv:r

Co.s.),

NotS',

Txt

I CrtVlNC.

L-

'Tt.(

oF
A

^^oa I WAT.

A!-e;o

(oeLD

DlALo6tvE

SPA|<EFiL

I\/AT\)RA
As,

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LiA?

11..re

| s\Jc+{

A<--TroNs

CA.r.l

T9

s4uN<.

C!rE'rr.J Gr

ovErR

AN

sE?vgN<..

a-!'5(^J,,,

ExA\,^P!Es

E.G, DWW246rJ
'togqraTr,
{wo.

@cn
blbWgtr

TNeIt,6

o$e&e

'AT'

a&ear@.

cdrtI-S
Jun^P
^-..-a-.^-/\+

THE

AND
HAVe

^rAE.

l'r

YOUFC{)'T

{E,

CAh.J

DL9NEY

\^JoR(

-:flrroq'r cor.J_tR.ot-.

CHAN('
FRDt.r

A.T

GuYS

ANGLE
<.v-r.

Bq.<Aus
AwelD'
A^JD
MoRE

oFJ

I)E

og

-T!.{Ig

[Link]

O^J

HooKqPSi

-TFr<--lNS

'To

FI.L-DIN(.

CONSIDtsEAST-\/

-[Link],

t-A-l-ER-

c.r-,'-fS

DoFf-f
,A.\)D

vueJL

EXT-

/
I

!oa

tlc<1L

JITNGLE -

e(Jtrl-rrrucu

DAy

The MEAI.I ANDERTHATS creep

clubs
raised,
[Link]
for

cagily
through
the dense
fofiage
the source
of the sound they heaid.

with

SP I KE/SOU IRT/LUMP

)
!:1?::i::i::":11,":":l:ti"::"u'n"
S O UI R T
(hushed whisper over
I
don't
hear
the
anymore ' Spike '
SPIKE stops

ancl listens.
you, _re right.
got away.

The eHANT changes

face.

SPIKE

SPIXE spots something

hands over the mouths

, whatever_it_is,

rhe

instantfy

as- the

__ n o f o o d . . n o

a
I
\

the chanting)
'whatever_i t-is,

UEAN ANDERTIIALS do

SPlKE /SQUIRT./IIJMP
food..no food..no

on the
of the

ground in front
other to\^'.

[Link]

ftpf fre' " mphi npf{re'."

THE GROIJND - ,THEIR pOV - lrhat looks

'snake
creature.
noses alound on the
bush .
I

:l
(stift
MPEELET
III!

muffled
.

about

food

SQUIRT,/LItrp (nufffed

;;;?*1.

an

and slaps

his

'\
[Link])f(p
'' Qo0- )

rnPhh

to be some sort
of
ground half
hidden

eyel6dSuider
a

! f ood,,)

In a- mad f1urry,:
the three
MEAN ANDERTIaLS pounce on the littfe
'snake cleature..
chewing on it 1ike a pack if
hungry beavers on,._*.
a giant
corn cgb.
They are so !*.rapped up by Lhe iact
that
they
actually
caught
sornething.
they fail
to ;otice
that
their
bite;
do absofutefy
nothing
to the ,snake creature..
In fact,
they
don,t
even notlce
as the 'snake creature,
Iifts
then high inta
the air off screen.
, ,,r,,. ,., .

SKy
rlii':i. '

i,,:.
,

, r,i.',
1

. ,.i. l,:,:,'

'.i

i . : r i' ,

. T h e M E A NA N D E R T H A I cSo n t i n u e t o n i b b l e . a s . t h b , n a s i i v a h e a d . o f . '
. rhe TANTRUM
S A U R U,Sl e a n s . i n r o s h o L , f i l l i n g . t h e . . s c r e e n . r , - : : - . i : . .
;

',,,,,

. ,.,
\ '

-,
1,,.,

,.,t.;:; .,
':

, ' i ' i i r i i i r; . ' : r

,.1]l:

'), ,

, . , , t 1I

:.i:':

...,,.t::

,.:

.1,.i t

l.,';,, ,

:i;t..t1:j;

;.',:

.;l:):..
.:'li: ,

I:I:

j .

vuulL

ror

rledL

TANTRUM
snif f )

( liLt]e

The MEAN A,IIDERTTIATSdo a double

taKe

to

the

TANTRUM sAURUs.

TANTRUM
(congested menacj ng grow [ )
. . fk\,rooooooodddddd. . . .

The TANTRUM'S mouth

sneeze -

opens

wide

. . . . aaaahhhhh.
The MEAN ANDERTIIATS squirm
about Lo haDDen.

as

he

begins

to

build

up

to

. . aaaaahhhhhhuHHl{.

helpl,essfy,

knowing

fu1I

weI.L what

is

SPIKE,/SQUfRT,/IUMP (in [Link])

AHHHHHHHHHHHHHHHHHHHHHHHHHHI
IIII! !
Ir{T.

I{EAN ANDNRTEAI-S'

CAVE

The CAVE KIDS have tied

the MEAN ANDERTIALS hannock bet\,reen the
two
stalagrAites
and are
stretching
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q l i nd

ah^f

^^^r.a+

STONEY'S .POV

as

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'

(very

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The CAVE:i KIDS l:;'eact

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' l. l ., J '
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Continued

CAVE KfDS, watchinq

it
like
at a tennis
natch as
spectators
bounces al1 over the place.
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back and forth
his long neck along \"rith the others.

it
on

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shoots across the cave over the ugaN i
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q'a11, skips
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a stalagrnite
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Lhe behind causing hjm to leap high into the air.
BUI4PS ( surprised
shout )
wHEW-HOOOOOO-HOOOOOOOOOOOOO
II
ANOTHER ANGLE - as BUMPS drops
onto
the
boulder
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right
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ANGLE S'IIONEY- his

triujnphant

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Iog,
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instantly

fades

the

as...

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right
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goi ng.
Tt
heads
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_
ANGLE $HE CAVE KIDS - \,rith blank looks on their
faces.

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of f

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rE ia1Ls.
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Iives
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entire
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the pit
Iike
a monstrous cork.
Ya

hal

hole

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CHARACTERS
ale eitherdogsor (very selectively)cats' while they
By and large,ali DOG CITY characters
usua y behavein a hurnan-likefashion(i.e. wearingclothes,walkiEgupight, tipping poorly),
they ;ll exhibit distinctlycanineand feline behaviour'from sniffing a stranger,lo howling at
the moon,to chasingcars,to driving with their headsout the window,to scratchingthemselves
in public.(For specificsseethe "Dog Tics" addendunat the backof dre bible)
ACE'S (ANIMATED) DOG CITY
Ace Hart
Ace Hart is a private eye'sprivate eye, a shamuswhose wit is as quick as his paws He believes
in truth, Jusrce and helping Littleold labradorsacrossthe street Well, not quite
lf the truth be known that is the way Eliot wants Ace to be; what Eliot wants his fars to see;
what he intended Ace to be when he first createdhim. But Ace evolved He came alive in a
helo, takingon his owa uniquea'1dannoylngtralls
sense,oulgrowingEIiot'shomogenrzed
To that end, Ace believes oniy in himself. He is the archetypeof the private eye guy in that he
watches out for number one. He's got an ego as big as his Hudson and isn't quite as clever,
heroic, or effective as he professesto be. This is not to say that Ace isn't good at what he does'
becausehe is. It's just rhat Ace's bigger than life opinion of himself tends to dilute his real, and
genuine,qualities and abilities.
We see this most v,/henAce and Eliot are interacting. When they are at odds as 10 how Ace
should handle a given situation. Ace always wants to burst in for effect, throwing caution to the
wind, thinking only of how great he'll look doing it. His only agendais himself Eliot's agende
is to do what's best for the story he'stelling, and ifthat meansAce has to slip on a dressand slip
past the hired muscie then, embarrassingas it may seem, that's what Ace rnust do -- becauseif
Ace squawkstoo much, Eliot can just as easily tum the frock into a tu-tu ard have Ace tip toe
right through those two drips. This undoubtedlycausesa bit of friction betweenthese two' but
Eliot is no tyrant and Ace is no whiner, and compromisesate made
(A note about "whining", an annoying trail that Ace fell into last season,making him sound less
than the tough guy hero he is supposedto be. There are times when Ace has to stop the actlon
to questionEliot abouta particulardirectionthe show is going in. Often, Ace's"complaining"
soundedlike whining. Writers should steeraway from Ace complaining,opting for Ace to spout
his opinions in the form of sarcasm,disgust,or out and out anger. Eliot will be quick on tire
uptake and either accommodateAce wilh a changeor tell him to take a hike -- either way, Ace
hasn't much choice in the matter, and will continuethe scenewithout complaint or whiningl)
We've talked about Ace aad Eliot's working relationship,now let's talk about the result of that
[Link] snrff that Eliot's fans get to see (when Ace is in his element, screenlnga

DOG CITY BIBLE (Rcviicd [Link])

potential client, waxing poetic to Eddie, exchangingverbal foreplay with Rosie' or slapping a
collar on Bugsy and his boys) is a cartoonprivate eye -- a cool and coliected canine whose self
assured,self serving attitude is so pronouncedthat it borderson pure parody And who ca:rblame
him? Ace is. after all, a cartoon character'His good points and bad points should be equally
cartoony -- pushed to extremesin order to get the most out of his comic, heroic, ald dramatic
momeDts.
Ace fancies himself as a hardboiled detective,cut from the same cloth as Sam Spade,Philip
Marlowe and Mike Hammer, but his delivery is so puffed up that it always comesout soundrng
like Leslie Nielsen from "Poiice Squad". Ace is soffheartedonly when it comes to Eddie (his
worshipful wehosed sidekick) and in those rare moments when he gets a glirt in his eye for
Rosie.
When it comes to tracking down a criminal there'sno m4tch fo! Ace His uncanny "nose" for
clues is legendary, but on a number of occasionsit's gotten him into deep doggie doo After
picking up the trail, Ace's nose tales over, leaving him blindiy oblivious to whatever dangerit's
leadinghim into.
Being the "against the grain, bending the law" maverick that Ace is tends to land Ace in more
then his share of hot water. (And since he's a real "dog's dog", Ace hates taking a bath'
physically or figurarively). The dangershe facesshould be comicai, but real enoughto male the
Lids ho." worry for his safety. But somehow,always at the last minute and always by the
"t
skin of his teeth, Ace is able to pull his self absorbedhide out of the fire, saving the day and
slamming yet another cell door on the evil-doersof Dog City.

Rosie0'Grary
To find out where Rosie is going (first seasonversessecondseason)let's review where she's
been-Last seasonwe tried to apply the Lauren Bacall, girl friday romantic angle betweenRosie
and Ace; a role usually given to a characterthat works in concert with the hero' or at the very
least, sharesthe same goals/[Link] problem was that Rosie and Ace (by the
book cop and shi{llesspivate eye) where always at odds, leaving no room for casualflirtations,
and thus, no roorn to serv1cethis side of their chalacters- And wheneverwe tried to shed some
light on this unspokenromarrce,giving Rosie lines like, "There'sgoesone heckuva dog", Rosie's
impact as a tough Police Dog went right out the window. The bottom line being: in trying to do
both, (tough cop/girlfriend) Rosie (the character)felt flat and undefined.
So what's the answer? How do we mai<e Rosie more "defined"? More appealing? More
memorable?I think the answer lies in dropping (or at the very leastpiaying down) the AceA-osie
romantic angle. Without it, Rosie would be allowed to develop, unfettered by her "unspoken
to
feelingsfor Ace", into a formidableAce rival. Formidablein the sensethat in her obsession
carrying
serve and protect the citizens of Dog City, Rosie borderson absoluteperfection when
out her job, keeping herself one, two, and even three stepsaheadof Ace on any partlcular case
Rosie'sobsessionfor doing things by the book tal<eson comic proportions in that she not only
demandsoerfection from herself, but from her stumble bum co-workers as well This includes

DOG CITY BIBLE (Revised01.93)

Ace, who is as far from perfection as any dog can get. As a.L e, Ace follows his gut instincts.
This usualiy breaks every rule in the book, but Ace doesn'tmind. It gets results, and as a bonus,
it rubs Rosie'sfur the wrong way. Anything to yank Rosie'schain-Having said all that. let's get
down to the nitty-gritty.
Rosie O'Grary is Dog City's Chief of Detectives. A real take chalge kind of gal, determinedto
do her part by taking a big bite out of crime.(Is Rosiegood looking?Well, let'sJustsay she's
fetchingl) Law enforcementis more than ajob to Rosie, it's an O'Graq, famiiy tradition. She is
the daughterof Red O'Gravy, a legendaryIrish Police Dog, famous for single handedly slapping
the collar on Al Cabone. Living up !o a family name is an incredible load to bear, and it's
[Link] for Rosie, being a woman, in what mary narrow minded dogs say is a man's
game.
Like the Muppet character that is her parallel (Terri Springer) Rosie is extremely efficient,
organized,and obsessedwith her ability to do a job well -- but where Terri comesoff as kind
of screwy, Rosie comes off as some kind of [Link] his foot thumping affection for Terri,
EIiot is blinded by her failings and oniy [Link] transposingthis perfectiononto Rosie,
Eliot has createda superwoman;a police gal incapableof making a \4rong move; and a real pain
in the ass for Ace.
Rosie is also the possessorof an ex{remelyvolatile Irish temper. Ace has been (and will be) on
the receiving end of "the wrath of Rosie" and will tell you that it is set off, mainly, by even the
slightest hint of sexism conceming what some dogs (Bugsy) see as a womar doing a man's
(police) work. Often, Ace can see that an eruption is immalent and, even tiough these dumb
chauvinisticanimals deserveit, he tries his bestto steerthem clear ofthe blast radius. "You don't
wanna say that. You really don't wanna say thaf'. BOOOOOOOOOOOOOOOM!!! Chaos!
Mayheml Incredible off screenOoo's and Ouchesl Then reveal the thug all tied up like a pooch
pretzel,with Rosie standingover him, looking [Link] grins. "Aw, you went and said it".
Being the perfect Police Dog isn't [Link] are momentswhen Rosie exposesthe tiny chinks
in her armour, but only during times of self doubt, and only in the presenceof her dad; a framed
photo that occupies ar honoured spot on her office wa1l. Although Rosie can't stand Ace's
disregardfor procedure,she can't argue with his winning record,and has a gaudgingrespectfor
him. There are times when Rosie needsAce, but asking Ace for help is a bitter pill for Rosie to
swallow. And you can bet dollars to dog hairs that Ace isn't going to make it easyfor her. The
only reai weight Rosie has on Ace is that she has the power to yank his private eye dog license
anytrme she wants-It's a threat that Ace tates very seriously-- one that keeps Ace on his toes,
and off of Rosie's.
Being a high level official of Dog City, Rosie answersto only one dog, the Mayor of Do8 City,
a shallow, credit grabbing politician who prefers photo-opsto backing cops. A dog who rivals
Ace as Rosie'schief sourceof aggravalion.
As Chief of Detectives,Rosie is forever finding herself in the middle of great danger. During
the course of his investigation, Ace will often come to Rosle'srescue,ard, almost inevitably,
Rosie retums the favour, sometimesto the relief, but more often the dismay of loner, Ace Hart.

DOC CITY BIBLE (Revilcd01.r3)

Eddie
Dog City newspupwho fancieshimseif
Eddieis a youngspaniel,a enetgetic,ovenly enthusiastic
If JimmyOlsenwerea doghe'dbe Eddie Eddie
asAce'ssidekickald a pivate-eye-in-training.
worshipsAce. He thinks Ace is the cat'smeow (pardonthe er?ression).
Like all frisky pups,Eddieis eagerto pleaseandis alwaysup for new andexcitingexperiences,
all over Ace's office)
so much so that he can hardly containhimself (Hencethe newspapers
Unfortunatelyfor Ace, Eddie nevershutsup and appearsout of nowhereat eventhe slightest
the Wdner Bros'
mentlonof a case,not wantiflgto missevena secondofthe action.(Remember
cartoonwith Spike and Chester?The frisky little puppywho is alwaysbouncingaroundSpike
yammering,"Whaddayawa$nado today,Spike?Ya want I shouldscareus up a cat to punch
out?Huh, Spike,huh?"Eddie is Chester).
He'salso a;uvenile authorityon just abouteverysubject,a gift that is, at the sametime' a help
anda hindrarceto Ace.I mean,who wantsto healthe casualtyrateof Acapulcocliff diversjust
whenyoulreaboutto take that ten storyplungeto savea drownilg client?This is the crossthat
Ace must [Link] even thoughit's [Link] Ace is calling the shots,we ca$\ help
gettingthe sensethat Eddie is often a half stepaheadof Ace, innocently,and unintentionally,
cluing our imageconscioushero in to the blatantlyobvious. But eventhoughEddie is more
or thinking
(factswise) thanAce, knowledgedoesn'tstackup againstexperience,
knowledgable
on your feet, and in that department,Ace Hart alwayscodes out on top
Eddie can be a colossalpain in the neck,and Ace often catcheshimself fantasizingnew and
exciting ways of shutting him up, but in the end, Eddie'senthusiasmand excitementale
[Link],as Ace would say, "A healthyreminderthat in this flea-bittenworld of ours
wet nosedpupsout there Dog love
there'sstill a few patriotic,applepie-eyed,All Americanine,
eml"

BugsyVile
BugsyVile is a dumb versionof Vito Corleone.A decidedlydenseDogfatherwhosepe[chant
actsof violenceandoverthe top tantrumshavemadehim the most fearedcriminal
for senseLess
caainein Dog City. Every time we seeBugsyhe is plotting,or in the act of commltflng,some
thatnobodywould expecthim to try
totally ridiculouscaninecaperthat,he feels,is so senseless
itl Bugsylives by a strongcodeof [Link] elsehe prizes(andoftenrewards)senseless
violence.(Is therea pattemforming here?)
behaviour,senseiess
motrves,and senseless
Like his Muppet parallel, (Bruno) Bugsy is a characterof extremes-Extremely senseless
[Link] exfiemelyvaln abouthis iooks _- a humorousaspect
of Bugsy'scharacterthat we intend to play up more this season. This diabolicalDon dons
tailoredsuits,snappyshoes,and an egregiouslybad toupde-- an ill worn rug that often gets
Bugsyinto embanassing
situations,flying off (as they tendto do) at momentsof exfieeeeeme
peril. To one of his boys.
crisis,necessitating
retrievalat extreeeeeme

DoC CITY BIBLE (Itcviled0r.93)

10

which is demonsfrative
of
Bugsyalsotendsto speal with the circumlocutoryover-vocabulatiol
exffactionSo to speakHe's a stockyfire-plugof a
a pefionagebom of DamonRunyon-esque
and,
whenca1ledupon,cando a greattango- A dapper
guy,who nevertielessis iight on his feet
Don who rules over his gang of haplesshenchdogswith an iron paw, but is tumed into a
coweringpup by eventhe slightestof snarlsfrom his cuddlyfeline moll' Kitty Litter'
Kitty Litter
AlthoughBugsy is the boss,and maste!of his world, Kitty is the cat who pulls his srings.
ard status(all mob bosses
BecauseBugsy is so dependantoll Kitty for love, companionship,
requirea gorgeousbabeo their arm)Kitty is ableto ride herdover him usinga subtleblendof
pouting. This is not to imply that Kifty has
feline flirting, mild manipulation,and pronounced
designson runningthe [Link] would be too much work- She simply usesher hold over
Bugsy to get all the really neat stuff in the worid; wildly expensivekitty curiosand jewelled
playthingsfor the much [Link] judging by how tightly Kitty has Bugsy
that whatKitty wantsKitty gets Think of her
wrappedaroundher iittle claw,it's safeto assume
asMercedesRuehlof "Maried to the Mob", or asa moremanipulativevercionof the character
Adelaidein "GuysandDolis."
Shelikes him' but they are
relationship.
With Ace Han, Kitty hasa soft of "Catwoman-Batmar"
on oppositesidesof the law. This relationshipshouldbe treatedas a mild flination on Kitty's
andBugsyred facedmad.
pan,makingAce uncomforlable.
slippinginto the shadowsard
Kitty alwaysemergesfrom everyscrapeabsolutelyurccratched,
performerof the Kitty Kat Club, the
leavingBugsyto take the fall. Sheis owner/hostess/star
andmmpusroom for Bugsyand his gang.
backroom of which servesasthe main headquarters

F risky
Frisky is a psycho. He's like Joe Pesci in "Goodfellas" times ten. His total enjoyment of
psychopathiccriminal behaviour can be played to the hilt. He lives to test the limits of crazed
behaviour, ald his extreme energy is his signaturetrait. Frisky's frail little frame is always in
motion, like Peter Lorre on a thirty cups of coffee, his little paws wringing like a fly on a cowpie. At times it's hard to pin down what Frisky enjoys the most; the act of doing something
insanely crazy or the anticipation of same.
Frisky's nickname derives from his nature and his one true [Link]. For him it's noi only
a quick fix but an art form. "Ooooolemmefrisk him, Bossl CaaI huh?Can I pleeeeeeeease?1"
He is so overly enthusiasticabout it that any dogs he frisks endsup thoroughly dishevelled;their
clothes are on backwards, inside out, their pants on their headsand tieir shoeson thelr ears.
Frisky is a [Link] and can easily con Bruiser, Mad Dog, even Bugsy, into doing
things his way. But not Kitty. Frisky hatesKitty, notjust becauseshe'sa cat, but becauseshe has
Bugsy's [Link] many times has Kitty swoopedin and re-routedBugsy to her personal agenda,

DOG CITY BIBLE (Rcviled 01.93)

ll

just when Frisky had him primedto do thingshis way.

Frisky and Bruiserhave an [Link] are a team,with Frisky playing the
masterand Bruiserplaying the [Link] that he is, Brujser lovesFrisky,
but Frisky resentsBruiser,not for his size,but for the fact that Bruiseris Bugsy,snephew,afld
chief heir !o the family [Link] mere lhought of this sendsFrisky into fits of rage,
promptingBruiserto snatchhim up in that protectiveway he does,over-strokingFrisky'shead
andsaying."Tlere,[Link] fella
Whenit comesto Mad Dog, Frisky is the gang'schief [Link] translates
Mad Dog'sunintelligiblemutteringsinto intelligiblemutteringsandis in chargeof flipping him
his doggybiscuitrewards.(Largelybecause
nobodyelsein the gangis crazyenoughto get that
closeto Mad Dos's mouth)

Bruiser
Bruiseris stupidity-squared,
alwaysat leasta stepor two behindwhat,sgoing on. probablyan
ex-boxer(the sport,as well as the breed),Bruiserdoesn'tjust have cauliflowerea$, nes gor
cauliflowerbrains. Confusionis his metier-AIso,Bruisertakesabsolutelyeverythingabsolutely
literally. (So, whe4 Bugsy says"I don't know the meaningof the word fear,,,Bmiser would
naturallyrespond"Duh tlat means,u-h,bein'scared,Boss',.Or somethingto that effect). He's
big, strong,punchyand,despitehis life of crime,[Link] just fell in with
a bad lot and really doesn'tknow the difference. Bruiser also happensto be Bugsy Vile's
nephew,and sincehe's"family," he'[Link] car be very embarrassing
for Bugsy
who, havingjust defendedhis sister'skid for droppinga safeon Frisky,stoe, thenhasto suffer
the indignily of havingthe self-samesafedroppedon his toe. But the gangneedsmuscle,and
Bruiseris musclepersonified.

Mad Dog
Mad Dog is the missinglink, Dog Primeval,pure aaimalaggression,
a lone wolf. WhereFrisky
is a tiny bundleof energyandBruisera big, shamblinggaloot,Mad Dog is long andlean;a dark
presence
slopingihroughthe shadows,so thin his pa,rtsseemto be held up by air. Most of the
time he'[Link] ql\ly spealsafterreceivinga sha$ blow to the head,at which time he
will speakin a shortburstof [Link] of a "talk toggle',if you will, that Bugsy,
Frisky, or Bruiser can usewhen in needof a.r eniightenedidea or opinion. No one hasever
figuredout wherethis comesfrom, especiallyMad Dog.
In the Muppetcanon,he'sclosestto Animal from ,,TheMuppetShow,,-- kind of hangingback,
breathingheavily,eyeshalf closed,until somerhingsetshim off, thenZANG! All he hasto do
is twitch and the othershold their collectivebreath,absolutelyunsureof what he'sgoing to do
nextl Sometimeshe'll viciousiy che\rr'
up the fumiture,or bury t_hegeta\\aycar,or somerimes
he'llJustdo [Link]'reneverquitesurewith Mad Dog. He,sfastaslightningandabsolutely
mercrless-- an unstoppable
foe exceptthat he respondsautomatically
to doggy commandslike
DoG CITY BIBLE (Reviscd01.93)

L7

"Fetchl" and "Stay!", and can be totaily controlledby [Link] kinds of bones,of which t\e
membersof the gangcarryon theit personat [Link] oniy downsideaboutthis bonefetish
is rhatMad Dog cango tolallyqll of connolar thesightof it.
AlthoughMad Dog is with the gangat all tines, he is often obscuredby whatever"doglike"
pursuithe'sengagedin. (Napping,chewingdowna fle4 snarlingat his reflectionin a minor, etc)
He can be summonedwith a simple commandor whistle,and will alwaysappearclutching
somethingin his slobberingjaws -- a clue to wherehe'sbeen,be it a garbagescow,a usedcar
lot,or a graveyard.
"Dropit, MadDog! Dropiti" Smack!"AlaspoorYorkie,I knewhim weli".
Smack!

OTHER CHARACTERS

ln addition, Ace's Dog City is populatedby assoneddogs and cats of vaious breeds,markings,
pedigrees and occupations. They can be doctors, lawyers, police Labs, politicians and fire
commissioners,news hou:rds(TV NewscasterBowwow Wowwow is a pafiicular favourite) and
any other kind of canine or feline careerswe need to depict.
One set of charactersworthy of particular menfion is:

Rottweiler & Leon Burger

Rottweiier is an ultra-evil GermanBaron, saddledwith an eagerto please,fetch-happyhenchdog
named Leon Burger. Ahhough he'd like nothing better, Rottweiler never gets to be in a full
episode,relegatedonly to the opening teaserofthe Ace Hart adventures,ard only when we feel
like usinghim.
The generalconsensusamorg the creativepowers-that-beis that we usedRottweiler a few tlmes
too many last year. He becamesort of a one note gag that gets harder to top. Wheneverpossible
the Miter should find a way to hook the audiencewith the story that Eliot is currently working
on, saving Roftweiler for those divinely silly cameosthat inevitably spring to mind.

The Telephone
When the Telephone is picked up in either Ace's or Eliot's World, all we hear on the other end
,> c^rc,'ucu

ud^rnts.

In Eliot's Worldr This may be Eliot's boss,Eliot's Mom, A Lucky Dog ContestCall or some
otherset-upfor or:r episode,etc.
ln Ace'sWorld: This may be Ace'sMom, A Lucky Dog ContestCall, a potentialclient,or
simplya gag

DOG CITY BIBLE (Rcvi3rd0l.r.l)

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(codthued)

El-iot

shuffles

back into

his

desk, dusting

off,

hinself

ELIOT (cont'd )
And I ceitainly
don't. want Bowse!
runninq
things.
Can you imagine?
(ears prick up)
Wait-a-ninute.
..
El-iot reaches OS then plops on his
hat w-ith a ]ight bulb attachment.
I'n

Ihinking

Cap --

a doctored

hard

ELIOT (sing song)

gretting an idea I

DING! The lightbulb

lights,
then Eliot
starts
excitedly
looting
through a pile of painted backgrounds. Eliot smooths a new BG down
on his drawing table as he says:
But first
Poor old

ELlOT
ve've qotta pay a visit
Bugsy.

A X C L E O N E L I O T ' S D E S Kt o r e v a F l F n i i n r i n d
BXT. TIta DOG CrFr
OMINOUSMUSIC sets
INT.

to

^f!

DOG POIIIID (BST. SEOT)

the mood as we PUSII IN & CUT EO:

lTEa DOG POI'}TDVISITING

NrGq"r

SHa-r

ese 5*vrL'(?+r_rs
i s, LH. ar-rY /.evs1

CEI;IJ

FRISKY, KITTY, and BRUISER are huddled apprehensively

together .in
the centel of the heavily
shadowed cell,
(Mad Dog paces back and
forth in front of the bars like a caged animal -- which he is.)
CLOSE ON THE GANGas we hear the OS SOUNDSOF LOCKS and HEA\'I DOORS
OPENTNGAND CLOSING. Each CLANG nakes the gang flinch.
Then
FOOrSTEPSare heatd. cetting
closer. And closet.
The cang huddfes
even tighter
as the Visiting
CelL door explodes opent CLANGI Then
a welf padded GUARDDOGwheels in a frightening
siqht.
It.s
BUcSy
VILE. trussed up in sone elaborate muzzle a Ia Hannibal Lecter.
The Guard Dog parks Bugsy in front
of the cang, each of then
reacting wide eyed at the sight. And just when the tension can get
no higher, the Guard ki11s the nood by unceremoniously "snapping,'
off Bugsy's muzzle. He saunters out tiredly
saying:
GUARD DOG
You gots five minute6.
the furniture I

And stay

Bugsy-scowls at the Guard. then lrisky

collapses
cl-rngrng to Bugsy,s legs the way dogs do,

off

u)!lAf5
(fttHc.

04)

at B u g s y ' s f e e t ,

,
.r

*
t
*

FRTSKY (wiLd sobs )

S a y i t a i n ' t . s o D o g f a t h e r t I H o e ,w i f l
we qo on [Link] you-hoo_hooooo t |

* Bugsy pats

Prisky,s

head,

+-\

T=.|

( ih,
Fher.e +E lruthin,
<\ldy^rry
^f ^ finc ?r^g.) your overt
-i5
display
of
sorrow
touching, !_
'\
Frisky.
(then) But you know how f
faal

*,Bugs

:x^-+

<po!-s
es.e c, esx lf
u,N
2'
arnNDe

SW,T.A

<-

laps F
SY
tin'
erra

og ha
dog hairs

BUGSY
Our filst
order
of
business is.,.
is.
He looks to Kitty
for help.
as she gives it Eo hin.

in

horror,

y con

crime

f .hi

(n"sg

bok

I !r

J.=:*.1

She checks her make-up in

KIITY
-- to nake with the
the netr Doqfather.
reacts

aLI

Ila

s off

Erisky

appointment

he!

compact

-tl

of

5 /'z-

then breaks aown againJ

PRISKY (wild sobbinq )

{
WHAr? | ? l(Eet t ! Who couf d repf ace)
you-hoo-hoo-hoooooooo
III
J

'-'*'G'
Tlrouqrr-r !^LL4s
a\_
srs. [Link].l-!y . -.

As Frisky sobs. A THOUGH?BAILOONApPEARSo.,er frim./rn

it, Flisky,s
tiny head sticks
out fron a Bugsy- sfrapea nogtiahpi
s-uii.
[Link]
sldfes next ro him, as Bluise! a;d-uad o'"g ti.J_ki;[-tt-irris ringl
FRTSKY ( O. S . /ECHO_YI

_'-''

rknohritsmer,,"^i*;;;;;fi:lii', <_-":;H.=ON BUGSY. tlad Dog hacks up a hairbalt

as Bugsy stands
prostrate
Frisky Lo rnake his announcement.
BUGSY
f herewith entlust
rny criminaf
of sen6elessness upon __
Bugsy's pauses for effectto Bruiser saying:

rrisky

3
Then Bugsy zrps over

'-Lo?AT;=,:r ^' .o

Eqvt jE_q.,

s-1-.',

the

crown

anticj-pates.

"c'.,
srEPPr!6

over

j'

,rD

cR@N

'Bor6 BruL!6r'

(coatLlued)

-I Frisky's
CI,ANG

BUGSY
mlmephewBrui ser.
hits

chin

the floo!.

BUGSY
this
al I ,

After

i6

family

business, and Brui6er is fanily.

ANOTHER THOUGHT BAILOON APPEARS oveT

kicking

and sclea$ing

like

FTisK\,.

a spoiled

Therrrrrre
Do9-faut
B!uise
aitr't

Brui

breaks

Frevrovs

!! !

by

ng

Bert

Mad Dog on

BAtrldi'

th

Barks:

_.--3

ssssss

rrrrrrrrrr

Frisky

aa.-,t

FRISKY ( OS,/ECHO-Y)
tshouldabinme
! Itshouldabinme

Kitty
nak
the a
ment complete
head,
ing him to ris
and sing

it,

In

kid.

Lo-sa

--- J

!:I

noves ne
6 Kitty,
waving and fawning at an
ce tha
y gestures to Bugsy. He reluctantly
here.
hi
"pres
Kitty
to RIIIIIIIIP
off
his toupee and
. (Bugsy guickly
covers his embarrassment
\,rith
p!ison striDed hat l
'5

Prisky

-rsoear.d

[Link]$

teFi+-rE-s.

k+k--+*+--t!erfts,
EDTerv

Tr

rin'+

+:i'

rd^[Link]\
r

Bruiser
scoops Frisky up to
right
off his scran'ny spine.

+all

console

!,5t

It

ain

hirn. near

BRUISER
There there litt-le
felta.
unca Bugsy too. . .

I,1I

' t*,

stroking

niss

wroE oN THE GROUP as Bugsy gets all secret-ive- like

be
l+'-=!g!t
!he1 srle*Ely
IN'r'O SHO? (inlEding
a sEill
apo lectic
F=i+lq4BUGSY { hush-hush )
Witt da foist
order of business now
in conpletion.
da second itetn on our
coll ective agenda is thusIy...
* The Gang leans

Brfi-

even closel

as we CUT TO: L--l

oR
ese fte
arqE. ,. L-r\t(=.
eg Ea^crs No-)

the

skin

6
'-_slc{s
. Ite--l:oelfuef
t :::i
D _^-o

1tu

Ef,r, !r,EEDOGporrrfD ( COmrNUoIts)

BUcSy ( OS, bettows )
BUST I.(E THE HECK OUTTA HERRRRRE
I!I
* The vrhole place
* TO:

shakes at

the

sound of

Bugsv,s

as we CUT

f.+z

A BI,ACX A WEITE

L'

TV II{AEB

-re-r}rt-

The AINOUNCER (fron

"Radio Daze,')
earl y-days -of -live-TV
curtain.

stands

in

front

.sq
? | 7-l r,a.t_ -^"r_.1
-_
of your
basic

ANNOT'NCER
Friends,
has a beagle burgled your
bungatow?
e poodl6 p,rrloi""o
io"i
property?
A heinous hound heisted
Then give a whistle
Your hydtant?
for Ace Ha!t, private Eye Dog!

tll

The Announce! WHISTLES pOR THE DOG, cuing the curtains

to open.
Behind is a IRIO OF SINGERS/DANCERS.
They are costumed as ace Of
Healts in the styLe of the cLassic Old cold Cigarette
colunercials,
tap dancing across the screen. (They sing to the tune of the D!.
whippet Jingle fron ',Radio Daze., slowed 1o a tempo nole suitable
for tap dancing ) .
TRIO ( singing )
Ace Hart. he,s the private eye hound
/ sends thugrs'n crboks striiqht
to
the pou4d /
Tl:{
.gu"""_-gq.! Ace, sranding in a cool pose unde! a street
ramp. ".up
As rhey
GAIN os we supER THE A PHONENID,iBiR across the bottom
of the scleen: 555-54I3,
T R I O ( C O N r ' D)
CalI five
five
five
six four one
three,
and fet Ace Hart solve vour
nys-ter_y I
Ace takes

the toothpick

from his nouth to add:

ACE
( following
cadence )
That,s Ace Hart, private Eye Dog / I
guarantee your case f,Il
crack / Or
you will
get -* The Announcer

and Trio
--

but in

to bring

it

hone.

A N N O U N C E R / T R (r sOi n g s )
. .ooub-Le your noney baaaaaaaaackl

3tL

<:3

qe

ACT TWOr

6l
-

BxT. POTICE DOG ETADoUARTERS--

n
* rNT.

!X

Nlkrrf-

oFJ

l{r.s

gaN

E-

Fr es_\-

ROSrE (O.S. )
Clearly
this
is the work
cxininala'
nastefirdod.

HA.S

wH'.8
<&-

\<!o

of

cEr^4e

lN

wA\

Y@E_
-ir-{F

\r.9\S,

oN

DoG

\"r 5

cr-rY

F{AvNara:,-g

ETADQUARTARS ( COIITTNUOUS)

fhe ir:ate BANK PRESIDENT fumes as Rosie and the

a huge map detailing
the cu1prit,6
tunnels.

police

Dogs study

BANK [Link]

Chief

o'crar-]/ | ( YAr*.c.-peoi+eks

-end
j 'npin+_ihfot+91+-haaF
rAds !) !!3!
are you going

* Rosie vrheels on the Bank pres.

-. ' r-to

to

and gives

ROSIE
$baierer-i$.-++ee,---SD

hi

t.

BANK PRESIDENT

I don,t
rcsEltsil

do??

4ecs

on of
d!

a:E.*tl

these I

rtsNe

erruFNlDr.

24-

udeR

\nant catch phrases I L+--rafit

I want my boltes backl! Nq9o I
--=:--

l-fu

FvGr

Fr\ls.

h-

T.v.

The Bank Pre-sident hops up and down in a rage f-A nearby tv-YEi t
snritches or from the jrnpact. An Ace Hart co[ulercial
is alreadv in
progtess.
lie hear the familiar
jingle,
then Ace says:
ACE (on scteen )
I guarantee your case I,l_l crack,
you wiII get __
-_ dou-ble
The Bank President

or

ACE,/AXNOUNCER/TRJO
(on screenl
your no_ney baaaaaik!

snaps up a phone and dials.

Operator?

BANK PRESIDENT
Cet ne Ace Hartl

ROSIE s,s
You can't hire A*}*;*{ ! He,II break
every rule in the bookt
(she vrhips out ,'The Book')
He'll botch this whole caset
eieat !
dou-ble
The Bank President

hA<r?.,.,i,
-rAx
te,,,
{-asco,-ts

BANK PRESIDENT
Then I'tl
get
(' s i n g s )
my mo_ney baaaaackt |

qoes back to his

\.

sE

call

as lJe CUf fO:

\dre
^ND

REhE

WEDL!?:

tou

LrFs
v?

Moce

on)
-qAN

oFEEi\<_

..re

'Bo.r Brufucr'

18

(coatltrEad!

ACT TWOr
EXI.

POLICE DOG EEADQI'ARTERTI--

r02.

Clearly
criminal
rNT.

DAY

RosrE(o.s. )

j-s the
this
mastermind.

itork

of

EEAnQInRITERS ( CONr!MUOI'6 )

BAIIK PRESfDENT fu[es as Rosie and the Police

The irate
tunnel-s.
the cul-prit's
a huge map detailing

Dogs study

ROSrE (CONE)
103.
your
bank was the first
The hit on
in a cli.[le wave which ha6 klocked
Dog CitY on its haunches.
BANK PRASIDENT
104,
Chief O'Gravl'l ... These clooks have
had you jumping through hoops for
weeksl !be!E are You going to do??
Rosie wheel,s on the Bank Pres.

and [Link] hiJn one of these:

ROSrE
105.
leaving
no
bone
untuned!
Every
I'n
being
checked
and
all
known
lead is
put
under
24-hou!
criminals
...
by the
surveillance
EyCgqLllg
book.
IO5.
BANK PRESIDENT
f don't want catch phrases I I want
my bones backll !8ts1 !
The Bank Plesident
hops up and down in a rage. A nearby TV set
switches on from the impact. AIt Ace Halt conunercial is [Link] in
progress.
We hear the familia!
Jingle, then Ace says:
107.
ACE (on scleen)
I guarantee your case f'lL crack, or
you lri 11 get --The Bank President

dou-ble

108.
ACE/ANNOITNCER/TRIO
(on screen)
your mo-ney baaaaackl

snaps up a phone and dials.

Operato!?

109.
BANK PRESIDENT
Get me Ace Hartl

=..\2->-

oot

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PFrSF-r
MoFrT><(

'Boar Brulser'
lettering
E]iot

| F-l

BP.a)<-

4_i_D

C.e \rak

r MPRf:-SS'

6N-S

-,tYrNa

D'aL.

gNT>

(cotrthueal)

and a arrow points

glabs

the figure

out as ,'A Client".

the brush back.

ELIOT
Do I telL

cinrne that.
you! job?
AII
[Link],s

N4eS

the

you how to do

ACE
tiie I

BRUSHERASESTHE C],IENT. cul

Bruno. He reacts to the comnotion.

watching him and contilues
to talk

To:

Eliot is unaware that

to his desk,

ELIOT
you're
just
Look,
trust me. fhis isn't
1ooks.

Bruno is

gonna have to
as crazy as

* Bruno \ratches Eliot

for a beat. He perforns the universa.l sign for
* "Screwball"
then groes back to raiding the fridge
as rre WIPE fO:
B:rT. DOG POIrllD - NIGHT (ANIUATION)

a.,t

D.u i-trerN

13 s,-rL,a-E-D ,i)
'
r,P.-a-fi*.r.

/-nv
+ WIDE ON THE SCENE. Searchlights
s\reep the area as three SILHOUETTES
* tip toe along the tovrering prison [Link].
'-"-=--'
'1i;:"--' c:,osE oN Bruiser,
Frisky and r{ad Dog as rhey stink<alonq.
They are --\=.'--'7
* all
are dressed
in camouflage black.
Bruiler
is
loaied
ro- the
* eyeballs with picks and shovels. fhey stop and
Bruiser
* load, CLAI'IKITY-CLANXITy-CLANGt I I Friskv
fr;aks.

FRISKY (hushed )
You wanna alert
Quiiiii-yet!
our presence? ?
tr{(.

:p{

them to

q.

BRUISER ( joyous )
Presents?
lie,re
gonna
dig
Presents?? oh boy oh boyl
Bruiser
j urnps vrith joy.
neacl against his shovel
w,c!

Poor Frisky can,t

in frustration.

for

stand

it.

FRISKY ( boiling )
Dooooohlll
Never (BONK) send (BONK)
a pup (BONK) t'do
(BONK) a dog,s
( B O N K ) J o b ( B O N X )r
Allow
me
Bruiser.

KrrrY (os)
to

refresh

your

nemory.

5'/L'
He BONKSh i s

'raee

sxrc-f-

Reveal Kitty slinking

into
his shovel sending Prisky
Your

A*?'('":";-

plan

scene. Brui6et whips around to

ftying O,S. (SFX: CLANGI)<
KITTY (con d)
is
rd dig Bugsy

ltflr-Fo:ff

,."t-:Jjif:__

-r*c

cG*r,

"t:

right

,
*

ae9 .
\
s^.ae:_
tI

\@@

* Fr j sky. does
He peels

-a

Lhe

/
./
RsA<5dJ:

BRUISER
Did I think

4'

o, that?

res t ra int rake. suddenI y [Link]!=J;g4""';-1

-strokes rTifity.a
office

off

his

s*,i.

indentatioi

KITTY
just say it came to you on the
tet's
Lhe monent ' '
P"ttt::I^:f
r.,,=,, pointedly at Frisky)
Boss. BBg_1qB I *
ra:s.g [Link] =,.ds -r>.hpc.

iZ'dupe of

.#

oe'*l--

pooND.

loa

head and

ir

C'
-F

<^.itv

BRUISER
Don,t
you worry,
Iit-tle
fel-la.
I'II
get Unca Bugsy back for you.
ause T,m in charge.+_,^_*/*L=.,ro

i Hearing this,
steam starts
pouting out of Frisky.s
* turns beat red, and he blows
a qasket.
Ooooooooo
?t*rrt-l!tl!i!
hin | !
* Flisky

^!E!^l^l.o

s,.z.g

ON FRISKY. He peels hinself

out of a Frisky-shaped
Lhe prison waIl and staggers back to the q;[Link] yeah.

s-t^..'{6c.v!s
86

tugs and tears

FRISKY (elupts )
I should be bossll
I,n the snart onel

at his

ears in a fit

FRISKY
This
whote fleabra_ined
making me XA-RnAArrryyry

1
ears,

his

face

Not

of raoe.

set_up
__

is

I
/

Ong bI
claws pop- out
-one, Xitty,s
*I switchblades
. A]+-+ery-$ffue.

lg

of her paws like

r."ro,
' /
"turp
r'risky
iwitches
gears f ast
.
I
g-r.1-r''
F
a>^rs'
\
FRTSKY (cont'd)
'_ trit g to foltolr
o-'[Link].J
Bruiser.s
everv
,,,'
coftnand. yeah.

with thar, Bruiser picks

"n

u fr.* jio"Tu,E

i: ." l,radDos.

BRUISER

Okay. On three [Link] Dog.

(counts fingers )
One. Four. Dig I

AtD
6Rvl

G
sE,a

er<-rrr

cwrsf(--

MA<_E

qad<

. .,*rcee,

[Link] .,

Mad Dog heaves the pick OS and statts digging doggie-style.

In no
time the buzzsaw-like bolr wow tunnels into-tfre gro-u-nd, with Bruiser
jumping in after h_im. Kitty lollows,
fenininely
waltzing down into
the hole as if descending a spiral staircase.
\/ 's UAL- 6-AZc - ( u,r-,ay
---*
. -*t*'.7 .-r.
As_soon as Kitty's
OUT OF FRAI.{E,Frisky wipes the co-operative
grin Fe-h
off-his
face and gets back into sour grapes rnode, poun-ding 5is f,gad R'<Ev.
with the shovel-v3E eFr: etJ ?G ' \'2- )

Flisky
Ieash.

drops

the shovel, looking like

a dog at trre eil'&t-lil-='

FRTSKY
(schening.) ffite'
Bruiser'If
\crew) Utt{
just hafLa makd-ne
f,B"..ld ""n."'tt
But sooner or later

idea

* hofe

rNT.

suddenly

dararnson Frisky

and he gets all

sinister.

as

ITNDERGROITIDTII]INBL (CONTINUOUS)

l'Iad Dog bores through

dirt
and rock like
a dog possessed while
B r u i s e r a n d F r i s k y f o l L o w , r o w i n g K j t L y b e h i n d then in the relative{
comrort o! a mine cara u-T^,wJAY.

XITTY ( [Link] song )

Keep qoing North,
Bruiser I
that con-paaaaass I

oF

E \<rH

Fof lort

nt.
elued to a coMpASs
as he rranps atong.
S19.1^o_l_11utsll,,
r n e _ c o m p a s s n e e d . I e p o9"".
inLs due North,_Frisky
Brurser,

eyeing

sidles
the conpass and f eigning---in+eresl-_\ 4.

DD'
K
HAS\<E:L.L

'1-\^e
@A\rr<

,(

e9w

k(

BRUISER
do my bestest,
FrEs-Lve,.. |{_5
t:I"
a-r
-
BLx.s.'ts sar,de

FAKE.
Kt-rr)

nexL Eo
!,oNr d.s

sek,lc

wow.
A
conpass
and
everything.
rou re
rea-Lly
gonna
impress
your
Unca Bugsy ain, t, cha?
I lrill

in

*.1;3
,-*.".,-lr.

3'

o.5.

:k *u,er>
TR\Slc.1

(-'p -fo

FRISKY
you will.

surrrrrle

Ij ttle

And

hele's

goo-d,lxct

for

something

[Link] reacts
r'rjsky whips out an economy sized q:ORSESHOE
vrith glee.
\!e

For qq???

BRUISER
what
(then)

is

l<N56

Lq

3'l-'

it?

FRISKY

Carry it
a luclcl' horseshoel
you at al"l tilrle6. Eggg, <_ s. *=.r.-

It,s
with

5A^sn

/.4
-

e .

It CLANXITY-CLANKS around
the nagnet at Bruiser.
rails
Frisky
around
his
shouldels like a horse
neck the! hangs there
Bruiser's
au.

cqf)AdaY

[Link] needle

is

[Link] haywire.

-l
BRUISER
Uh oh! North just went southl And I P^:1
v'
)
east! And westi what'I] I do???
FRISKY
You heard vrhat (itty
that conpass,
witb that,
Mad Dog.

Frisky

packs his

fingers

said.

.>

FoIIow
mouth and WHISTLES for

in his

Frisky
(WHISTLE) Hey
Louie!
ON MAD DOG. He nods wildly

l{ad

Dogl

Hang

vl\NAcres
t
ogg

[Link] VAIJLT (CONTT!{UOUS)

- .

a
-"

ancl changes alirection.

TUNNEL CUTAWAY. fhey corkscrelr in al1 directions,

the Dog Pound. wAcKY MUSrC GATORE. <f---

rNT.

- /
o

>

7
\

entirely

rnissing

E, <e
..
5a5-1

te\

sk-Y

-rr-lc5{
'.

Bcv

'sY<

and
Bruiser
Afl is quiet until Mad Dog bores up through the floor,
golden
and
aura,
Kitty
pop up in turn. Al.1 three are bathed in a
are reacting vrith rnouths agape at the sight before them. ITALTELUJAI{
CHORUS!
uh oh. . ,

BRUTSER
<l_
wEz,Ra No_
suQ

Frisky

pops up beside

Bruiser,

oC

Iooking

&l::7wr'.&

cocky.

rs

[Link]('uous.

FRI SKY

te{une quess. You [Link] the targe

right?

3'la'
( zct' )

rBoa! Eluisrr

(ccmtl-pued!

r6
KITTY

Yeah, bur he hit

the jackDotr
..''.
* cur WIDE TO dFVEAl, that
th( >_S1"9 is- surrounded by stacks and stacks
,
.
* of steaming solden bonesl
riis-:.y a"es
,l_woo6oii tlr".
uiJ-o"t

* sa.l,ivates freely.
*

.i

-.^,t

/-a

* Frisky

beats

his

and xitty

""
a i,uppy
t"g

thr&s

";-;.ir""r,

KITT?
Bugsy, s gonna be aooooo proud I And
on yout first
day toot

-fb

FRISKY
Doooooooooh I I I

eoF-

head

on the

<t NfraASf

Bank [Link]

in

'

FaerrBnls

ftustration

uf

sEi

PA1_TE*^i
qoPfrc.e

./
- z'

as:

A NEWSPAPER SPINS UP

Ii:kllC,
no\r-enpty

of f a. crine. .pt"1(@D

Fronr page pictules

bank vault
anr
acconpanied by a headtine in#?.St"",tt"tnht

Bank

of the

president

are

REVEAL EDDI
stieet
corn

A SPI

ING HEADLINE that

ieads:

EDDIE
MYSTERY CROOKS
C [Link]
-'re\
,Ia nketc--hE-:
Hel
CUT

(os)
ARMOURED CAIi I

Cutj-ogtreNl,oOKE
TV

FRISKY, pitoting
a heli [Link]
Bruiser and
-to!,rard the prison with,.Jump
sui ted up and reidy
r_o_!an)[Link] in Lhe
:::_,?9q
'
a
c
c
i
d
e
n
t
a
l
L
y
"
sears".
r r-rsKy
hits the
BUrroN. rh; frior orops
ou! trorn under Bruiser and
Mao "^9rys-_1T
uog an(t they drop like rocks,

rnissing the Dog Pound entirely.

Frisky snickers, then reacEs !o see
Bruiser and Mad Dog crashing through the roof of a passing train __
which turns out to be full- of valuable alt treasu]res: pAN ACROSS
.,Venus de Fido,,. .poodfe
[Link] as 'Ihe Mona Lassie',.
Descending Staircase".
Frisky slaps his head in frustration.
CUT
TO:
ANOTHER SPINNING HEADLINE that

Teads:

D D r E ( O S)
STER CROOKSNAB T4ASTERPIECES
I
INSIDE THE fIf-KAT
CLUB. Nitty
slaps a diamond tiara
and waltzes happily clutching
an Ancient Creek bust,
*
*
*
*

-c
on her . ^ - ? o rue+
"='J
?
CUT TO:

BUGSYIN HIS CELL, having just opened a 1etter from hqne. Cb

THE PINK STArIONARY to reveal Kitty,s
handwritten, (_Dear B
The letter
is whipped aside ro reveal a snap shot o-i-tEe -6A;0.
posed in front
of rheir
ill-gorten
boory.
[Link] Oog is proofinf.

* Frisky is scowling. Brui ser ia pouti4g, .qna xitty-ji-I

* waving, "wish you were Here:" Bugsy
dunbhounded)into
cameta
fu)oks
*

\**.".= +-",;

as we CUT TO:

" :19I- 9I_TH.E GANGas they cRAsH rHRoucH rhe ceiling of the DTAMOND
EXCIIANGE,
hanging in the basker of a hot air ba1loo-n. Frisky takes
one fook at all the loot and slaps his heact
head in
in rrus*ation'
frustraEton.
j;l-

;i;ril;^";;"iii"'ii;;;;i'"H"::?n"

*
*

Br:.i1liant

* REVEAI BUcSy. He tears

sucsY(os)

Baddied B;g Bobbles??

the

*
is

IhaLh e r e ? !. ?

"'"

^ .:"&

newspapql- to shreds.

sucsv(1yerry'

Bruiseff.n,

r Exr. r,IlE Doc poIJlrD

ta

-t/.
3 |L

puII

--*a-'4sd'\'?
--

I
BUGSY (OS)

rfl s sENsE-tEsssssssSsssss
t| |
O n c e a 9 a i n , the vrhole Joint
s c l e a n , a s w e FADE TO BT,ACK.

vibrates

End Of Act

at

the

aa'|,tat<-4

sound o f

Bugsy's

!-(*o

One

s,c.>e
t<us]P4rt+J.

,qvtra 6-.-oes
"aa_aysJ
Lr\r6

ac{lo

I
,f
( oos
NgT
r6rcLo r

EL.

c.,..

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I

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n 4.*0c)

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ftr;

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Doi
Kr_rrt
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Ill;

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, CReEPING

FRI3\<.Y

TIPtOES

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EX If;

AND

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11 Fe

l(D

30 1993
MAR

Eoors(ES
o\Pq Dow N
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-Writea shorrscript,
on oneof the followtng,rwGpersondialogue,iltuations:
i) A person(you?)askingfor a rals.
ii) A fatherand his sonargueatrouthouseholdchores.
iii) A man tries to convincea judgeof his innocence.
iv) A confrontationin a bar almostleadsto a fistfight.
v) Twowomendiscussa buiness dealat the officewater cooler.
vi) A doctor hasunexpctednewsfor her patienl
vii) A lirtle boy and his morherdiscusshislatest report card,
viii) A [Link]
down,oneof his playeis.
ix) A Journalistconductsan interviewwith the witnessof a
crime.
x) okay,!!q4frypen$....ifyou think vou cando berrer,makeup
one of
your own!!!!!!!!
Rememberto includeall pertinentshotsuggestions
and action
instructionsln your [Link] clariw ana lr&"itv. esiume
ttrat
someoneelsewill be boardingyou. [Link] io. yort -

(1)

Now that you're finished your literary masterpiece,it's time to

start boarding! However,it won't beJggl script you'll be visualising,Hand
your script over to the person to your immediate left; thev'll be doing the
story boarding for you.....andygu:!! be boarding the script of the person to
your right. Sneaky,huh?
Readthe script and make your usual 'first impressions'notes.
Thumbnail any visualsthat might come to you on this first read. Jot down
any questionswhich come to mind. Then....booktime with the scriptwriter
and ask him thosevery questions!Don't be shv!
Onceyou've had all of your questionsansweredfor you, start
thumb nailinq the sucker!The script is probably fairly short, so it shouldn't
take too long to completethat part of the task If they're not too busy with
their own thumb nailing, run your visuals past the 'scriptlvriter' to get
their feedbackon your work, I'd like them to play 'director' at this point.
!le4!e....be constructive in your own criticisms of the other person'swork!
No fiqhts nowl!
When you've had your roughs approved, start cleaning up the
board on those neat panel-sizewhite [Link] discussed,you'll probably
want to rough in blgg pencil and cleanup in black pencii. Affix (ie. stick)
your panelsonto the blank board pagesprovided and then do all ofyour
[Link] cuts or other transitions and provide action
instructions. Indicate_pIgEilelywhere you want your dialogue to fall and
add any sound efx or music [Link] your scenesand panel numbers.
Also, it'll be lrnportant to 'line number' your [Link], time your
board....be as soecific as possible. Finally, make three clean xerox copies of
the completed board. This is your assemblv,/worklnecopv. As the name
implies, it's ready for assembly!First though, the dialogue will have to be
[Link] our 'voice artists' are golng to be....heh,heh, heh! In
preparation for the recording, and ifyou have the time, you mlght want to
create a 'recording script' for yourself. It might make things easierfor you
when you nervouslv step up to the microphone for the first time!
Now, back to those three board [Link] copy for
yourself. Give one copy to the author of the piece,and one to me. I'll
arrange for that copy to get to our [Link] on that
assemblyprocessa little later........have
fun!!!!!!

(z)

Your next asslgnmentis to story board a short actlonsequence

your
from
own [Link]'reboardlngthis one,the script doesn,t
haveto be an [Link] fact,a simpleshot list wlll probablydo.
Chooseoneof the following two topics for subject matter:
i) A CHASESEqUENCE.
Setup the chasestmplvand give
the sequencea deflnite beslnninq,[Link] end. Havingsaidthat, don't
hesitateto open up mid-chase,as long as it's clearwhat'sgoingon! your
chasecan be an action,/adventureoriented thriller (asin .Cadillacsand
Dinosaurs"or "Talesfrom the Crypt',)or a ,funny animal'laugh-riot(asin
"Tom and Jerry" or "ThunderLizards!"),Ifyour sequenceis meantto be
suspenseful,
build to a satisflng clima-\;tf you,re building to a gag,make
surethat it's 'paid-off!
ii) A SPORTSSEeUENCE.
Setup rhe situationclearly,
whetherit's a last-minuteattemptat a touchdown,or a dramaticrush up
the ice to scorean overtime goal! Rememberthat thisis supposedto be an
actlon sequence,so chooseyour sport accordingiy!Golf, for e>rample,might
not be a [Link] sequence
a definlte beginning,middle,and
end,and don't hesitateto throw in the occasionalcutawayto spicethings
up or simplify action. As with the chasesquence,you can take a dramatic
or comlcapproach-it's vour choice!
Makeyour sequence
about 10 to 15 scenesin [Link] with
the previousassignment,
you will be writer, board artist, and deslener.
This time, try skippingthe rhumbnall stageofyour [Link],roughlt
directly on the white srtcldes,followingyour writren shot list. Beforeyou
transfer the stickiesto flnal story board pages,lay them out in squence
and seeif they 'cut together'properly. If there'ssomethlngmissing,add
i!! If there's one panel or scenetoo many, loseitl Try ptaying around and
reorderingthe scenesin your sequence;
maybethls will giveyou other
[Link]!And....aswlth our dialogue sequence,
makesure that you,retaking
advantageof the wide numberof choicesour ,shotmenu,[Link]
you'vedecidedon an order, put the panelson the boardpages,do all your
usualbook-keeping,
and time the final [Link] specificas oosslbleat
all times! Now make two copiesofyour board-onefoi me and one for
you........again,
havefun!!!!!l
(3)