A long time ago, meaning over Christmas break, I outlined the whole 3 issue plot for this Clay Cavalier story. I finished the first issue during that time, and even the first few pages of the second issue, knowing that once school started, I would likely abandon the project in favor of not failing at life. That's basically what happened.
But, now that it's summer, and has been for well over a month, I'm returning...sort of.
I totally lost the full outline I had written for the series, because I wrote it all long form on a legal pad. But, alas! I remember most of it!
I scrapped what I had of the second issue and started fresh. Hopefully this issue won't be quite as bad as the first. I'm learning the form and trying to grasp "pacing" and "interesting stories," which are both entirely foreign concepts to me, so bear with me.
Anyway, here are the first three pages of issue two. I'm hoping that starting this will ignite in me some feeling of responsibility toward finishing the project...only time will tell.
ISSUE TWO!
PAGE ONE (four panels)
Panel 1. Back to the kitchen with GUY, telling us his story.
GUY: (to reader)
Hey, thanks for sticking with me through this whole thing. It’s gotten pretty hairy and I’m just now piecing together everything that happened to get me here.
Panel 2. Still on GUY.
GUY: (to reader)
Like, there are certain developments that just became clear to me recently. I know you wanna know about the bank…I’ll get there, I’ll get there…
Panel 3. Wide and high establishing shot back inside BRONSON’S OFFICE, which toes the line between “classy” and garish. We see, sitting at his desk, BRONSON, speaking across the desk to CRATERFACE CURTIS. Standing guard at the door is CLAY CAVALIER.
CAP:
“…but let’s start here first."
BRONSON:
C.C., you and I have a long history together. You’ve been my number two since we ran Cardinale out in ’88. Now, I know I don’t need to tell you this, but for the sake of satisfying my loquacious nature, indulge me.
Panel 4. Medium shot over the shoulder shot. We see CRATERFACE CURTIS in the foreground, back to us. Looking beyond him is the focus of our panel, BRONSON, sitting behind his desk, cigar still in hand, as always.
BRONSON:
We’ve lost too much territory to Van Cleef and his crew.
That can’t continue to happen.
That ‘Angel Eyed’ son of a bitch has got another thing coming to him if he thinks I’m just gonna roll over and continue to let him fuck me like this.
So, here’s where you come in.
PAGE TWO (three panels)
Panel 1. Now we’re on CURTIS, listening intently. Here we might see a vague indication of tedium and ennui directed at BRONSON, but not so much that it would cause alarm. This sort of indication should be a ‘second read’ indication, something that isn’t readily apparent but can be put together later upon revisiting the book, knowing the final outcome.
BRONSON: (OP)
Van Cleef is a dumb son of a bitch and he’s hurtin’ for men. He’s put out word he’s lookin’ for some new guys to add to his regular heist crew. Now he knows who you are, of course, he’s not that dumb, but I know how persuasive you can be.
Panel 2. Tight on BRONSON, blowing a puff of smoke from his last take from his cigar.
BRONSON:
Convince him.
Get him to take you in, do some jobs, earn his trust—
Panel 3. Back on BRONSON, tight on his face, leaning in a bit for effect, looking straight at CURTIS (or to the reader, really), head tilted down slightly, just so we can see a slight shadow cast from his brow, showing us just how menacing he really can be.
BRONSON:
--then do right by me and stab that cocksucker right through the fuckin’ spine.
PAGE THREE (four panels)
Panel 1. Exterior, street-level shot of the outside of a pawn shop (go ahead and make it GOLD & SILVER for those in the know). The street is quiet, nothing out of the ordinary.
CAP:
“So, if I’ve got the timeline worked out…”
NO DIALOGUE
Panel 2. Same shot from Panel 1, but now we see, bursting through the storefront window from the inside of the store, a big, bald white fellow with a goatee (read: RICK from PAWN STARS), having been violently thrown through the window.
SFX:
BBBBBBBBBBRRRRRRRRRRRRIIIIIIIIIIIIIINNNNNNNNNNNNNGGGGGGGGG!!
NO DIALOGUE
Panel 3. Again, same static shot, but now we see, climbing through the window and coming out the front door, 3 dudes, all dressed in the same black suit/white shirt/black tie combo, this time each wearing different presidential masks (like POINT BREAK).
GOON:
Where’s the fucking car!?!
Panel 4. Again, same shot, now with the getaway car screeching up to the curb. Let’s make this one the famous 1973 Oldsmobile Delta 88 Royale from the Evil Dead (and every other Raimi film, actually) trilogy.
OTHER GOON:
It’s always the asshole driving the car that decides to be late!
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