Pages Nine, Ten, Eleven and Twelve

Ok, so here are the next four pages. Remember that (OP) means "off panel" and that a splash page is just one big panel and you'll be all set.

Switching from Word to this blog is causing some formatting issues, also. Sorry about the inconsistent look of the posts so far.

Also, be sure to read the last post and check out the photo of the Federal Reserve Bank of San Francisco so some of the action here can make a bit more sense.

Thanks for reading and stay tuned,
Aaron J.



PAGE NINE (four panels)
Panel 1. Back to GUY tied up in the kitchen, telling us the story.


GUY:
You have to understand that this wasn’t a situation to be treated lightly.

Panel 2. Still on GUY.

GUY:
Bronson basically ran the West Coast. I was lucky to find any work out there from whatever nickel and dime douchebags Bronson didn’t see as worth the trouble to run out of town.

Panel 3. More GUY.

GUY:
An offer like that meant big money, big opportunity—

Panel 4. GUY, talking.

GUY:
--but it didn’t exactly add up to me yet.




PAGE TEN (six panels)

Panel 1. Night. Exterior, Federal Reserve Bank of San Francisco. Nice wide shot.

CAP: San Francisco.

NO DIALOGUE

Panel 2. A bit closer to the bank now. We can just make out the silhouettes of three men standing outside the front entrance: GUY, CAMPBELL and WAYNE.

NO DIALOGUE

Panel 3. We’re right beside the men now, in the conversation with them. WAYNE should be visibly holding a Baretta .45, while CAMPBELL and GUY simply have satchels holding all of their equipment. All three men are wearing ski masks but they are not yet pulled down over their faces; they are pulled up, more like a hat, so as to reveal their faces.


WAYNE:
Once the charges are fired, we’ve got no more than 4 minutes to be in and out before fire and rescue arrive, and likely less before we see any police, so make every second count. Darby will be waiting for us in the rear, so get out of the employee entrance in no less than three and a half minutes. Is everyone clear?

Panel 4. Close up on GUY’s and CAMPBELL’s eyes, both indicating with a glance their poise.

NO DIALOGUE

Panel 5. Back to WAYNE, medium-tight shot, his full face in frame.

WAYNE:
You know what to do.

Panel 6. We see a gloved hand placing a very small C4 charge on the front window, which we see is wired to another charge placed on the other window on the opposite side of the door. The charges should look professionally made, very neatly packed with minimal wires/tape/etc.

NO DIALOGUE



PAGE ELEVEN (splash page)

Panel 1. Exterior shot of the bank, front windows being blown out in a sizeable-but-controlled explosion. We see GUY, CAMPBELL and WAYNE, backs to the columns on the street side so as to be shielded from the explosion. GUY is pulling down his mask, CAMPBELL is wincing and WAYNE is nonchalantly covering his ears.



PAGE TWELVE (five panels)

Panel 1. A street-level shot looking in at the bank, where through the rising smoke we see the facade of the bank, its windows now entirely blown out. The three men are quickly entering the bank through their newly created entrance. Now we see WAYNE and CAMPBELL pulling down their masks.

GUY:
Seems a little much to knock out a few windows, wouldn’t you say?

Panel 2. We’re inside the bank now, looking through the lens of a security camera inside the lobby, so we’re going to be looking down from a higher angle. Nothing is in frame but empty lobby.

WAYNE: (OP)
That was double-laminate, one-way bullet proof glass. Nothing smaller than C4 stood a chance of getting through those windows, friend.

Panel 3. The same exact shot from panel 2, only now we see WAYNE in frame, staring straight at us, gun pointed directly at us.

NO DIALOGUE

Panel 4. Now we’re back out in the lobby and we see WAYNE shooting the camera, rendering it debilitated.

NO DIALOGUE

Panel 5. Here we’ve got a wide shot of the bank lobby. We see CAMPBELL running behind the teller’s desks, WAYNE is shooting out yet another security camera and GUY is kneeled down in front of a door on the back wall marked “OFFICES.”

NO DIALOGUE