2 Lone Ranger

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THE ® LONE RANGER MATTHEWS * CARIELLO WHITE CASSADAY H DIRECTOR'S CUTTHE ® LONE RANGER BRETT MATTHEWS WRITER SERGIO CARIELLO ARTIST DEAN WHITE COLORIST JOHN CASSADAY COVER ARTIST SIMON BOWLAND LETTERING The Lone Ranger #1 Director's Cut. First printing. Published by DYNAMITE Dynamite Entertainment. 155 Ninth Ave. Suite Runnemede, NJ 08078. © 2007 Classic Media Inc. THE LONE RANGER and associated ENTERTAINMENT character names, images and other indicia are trademarks of and copy righted by Classic Media Inc. All rights reserved. DYNAMITE, DYNA NICK BARRUCCI PRESIDENT MITE ENTERTAINMENT and its logo TM & © 2007 Dynamic Forces, Inc JUAN COLLADO CHIEF OPERATING OFFICER All names, characters, events, and locales in this publication are entire- JOSEPH RYBANDT DIRECTOR OF MARKETING ly fictional. Any resemblance to actual persons (living or dead), events JOSH JOHNSON CREATIVE DIRECTOR or places, without satiric intent, is coincidental. No portion of this book may be reproduced by any means (digital or print) without the written JASON ULLMEYER GRAPHIC DESIGNER permission of Dynamite Entertainment. except for review purposes. SPECIAL THANKS TO For information regarding promotions, LESLIE LEVINE, STEPHANIE GONZALEZ, licensing and advertising please email: LYNN KIM, KIM ANTHONY JONES, TONY KNIGHT, 888-COMIC-BOOK EVAN BAILY, MIKE WEISS & JOHN FRASER Printed in Canada. comicshoplocator.comBRETT MATTHEWS COMMENTARY I like silence. You might notice that about me. You'd think this would be an easy page for us to get right, but it actually took a bit. The white hats the Rangers wear, the Texas Rangers still wear to this day.TEXAS, 1869. BE NICE TO GET OUT OF THE SUN... Bryant's Gap. I wanted its entrance to be a very distinct rock formation -- because we'd be seeing it again and I wanted it to be recognizable -- and Sergio nailed it.DAD! THIRTEEN YEARS AGO. DID DID YOU YOU KILL GET THE BAD HIM-- MAN, DAD...? SEE TO THE HORSES, JOHN. WASH UP BEFORE SUPPER. First flashback. John [Cassaday] and I wanted a flashback presentation that wasn't tired or derivative --desaturated or blue cast or that kind of thing -- and Dean [White] created this great look that is very much the book's own. Here we meet John Reid's father, this version a revision to the mythology I thought made sense and would allow more people to relate very directly with John. The love we see here is tough, but to me there was no mistaking that's what it is. Fathers should always want better for their sons, and there's no doubting that John's does.YOU WANTED TO SEE ME, DAD? I DID, JOHN. SIT DOWN. I DID KILL THAT MAN TODAY. HE WAS A BAD MAN. HE HAD IT COMING. THAT DOESN'T MAKE IT A GOOD THING. WHY? THAT'S SOMETHING, YOU'LL HAVE TO RECKON FOR YOURSELF. DO THAT, AND YOU'LL KNOW YOU'RE WHAT A MAN... KIND. father explaining to him the previous violence. In a Western, violence is a given, so what matters is to hat end it's used. Also, despite being so young, John is already on the verge of having to be a man. Very ifferent from what goes on today.Silence. John taking hours to reach an understanding that will come to define his life.THE STUMP... IT DOESN'T YOU CUT MEAN YOU DON'T THE TREE DOWN MISS THE TO BUILD THE SHADE. HOUSE. GET TO BED, JOHN. Here we see John understands what his father was trying to tell him, and how proud the conclusion he's drawn makes his father, not that he admits it. Proof to him he's raised the boy right. Read more FREE comics on ReadComicOnlineTHIRTY MINUTES AGO. YOU ALL RIGHT, PA? WHAT ARE YOU THINKING, JOHN? I'M FINE, I WAS JUST... THINKING. THAT THIS IS A LONG WAY FOR A REGULAR LIKE COLLINS TO GO, JUST TO DUCK A NIGHT IN THE CAGE. SMALL-TIME THIEF LIKE HIM, THEIR WHOLE REASON FOR STEALING IS THEY'RE TOO LAZY TO DO SOMETHING ELSE. IT DOESN'T MAKE SENSE. AND THERE GOES LITTLE BROTHER, TRYING TO SPOOK us WITH THAT BIG BRAIN'A HIS. TOO MUCH SCHOOLIN' STUCK IN THAT HEAD OF YOURS, JOHNNY This was the first page Dean did color samples on when we were trying to define the look of the book. You can still sort of see a more heavily-rendered style in the first panel face than we ultimately decided to go with or at least I can. Read more FREE comics on ReadComicOnlineNot much to say. The image does it for us.NINE YEARS AGO. C'MON, JOHNNY BOY... I'LL CATCH YOU. YOU DID IT. YOU CAUGHT ME. THAT'S WHAT BROTHERS DO. THEY DON'T EVER LET EACH OTHER... Second flashback. Simpler times. If you had an older brother growing up -- and I did -- you probably did like this, topography allowing, and probably remember it fondly."...FALL." DAN!! WE'RE SURROUNDED- It was a very conscious decision to show the blood. I didn't see how we couldn't and not lose credibility. This version of The Ranger was always going to be an earnest, transitional Western, and it came with the territory. I knew it would make some people unhappy and that we'd take some flak for it, but in the end you have to do what you think is best for the story you're telling. Period. I'd make the same decision again.DAD... I'LL KILL YOU ALL, YOU SONS OF BITCHES.. You're supposed to think John is reaching for his father, only to find in the last panel he's reaching for his gun. I'm not sure we ever got this image there. It's close John Reid swears here. To me it was of the world and the moment. It was honest. I could never find a good reason to take it out. Still can't.I'LL KILL YOU ALL!!! think all the book's elements really come together on this page. It's not pretty stuff, but it's powerful. What happens to the Rangers is sudden and extremely violent. This brings that home.THAT'S THE LAST. GO COLLECT YOUR THIRTY PIECES. COLLINS... REST OF YOU BOYS. MASK UP. No, that's not Butch Cavendish, but I didn't mind letting you think it was. Also, note the red shirt on the gang member. It's the same Tonto will scavenge from the scene and John will wear in later issues, when he first puts on the makeshift mask."IT'S PRETTY, WHAT'S BEFORE ME... "ONE YEAR AGO. SHUT IT, DAN. LIGHTEN UP, CITY BOY. IT'S GOOD TO YEAH. HAVE YOU AND 'HERE' BACK. GETS FURTHER OUT EVERY YEAR. I'M NOT IN THE CITY OR A BOY. NOT ANYMORE. WHAT I'M CAN MEANIN' TO YOU STILL SAY, JOHNNY RIDE? WELL, BOY... YOU'LL NEED TO PROVE IT. TRAIN ONLY GOES so FAR AS HERE--So that's where 'Hi-Yo' comes from. This was one of the trickier elements to incorporate, where someone like John would ever pick that up. I just thought it was too important and too much a part of the character to leave behind. But I wouldn't expect to hear it a lot. Read more FREE comics on ReadComicOnlineEXAS S RANG WELL, DON'T JUST STARE AT GUESS YOU IT... CAN HANG 'EM UP NOW, PA. SOON ENOUGH, DAN. SOON ENOUGH. Red bandana, silver badge. Also, we screwed up and left out the patch Sergio did for the shirt in the last panel. If you'll turn back a page, you'll see John's wearing a different one -- the shirt here is the one from the canyon, and that which he will later wear as The Ranger. We'll fix this for the trade.NOW. KEEP YOUR FILTHY HANDS OFF IT, YOU SON OF A-- WHAT'S THE MATTER, LAWMAN... The 'Now' here is more important than it seemsYOU LOOK LIKE YOU'VE SEEN A GHOST. COURSE, TAKE ONE TO KNOW ONE... WOULDN'T IT? This was the page that showed Cass and I that Sergio was the guy for the job. It was part of a sample he did off the script, and we hired him immediately after. Great job by Nicky and Joe and Juan to think of Serg, and Dean's blur effect puts the whole page over the top. From a narrative standpoint, I wanted to express that this is the moment John Reid understands the power of masks. Maybe not consciously, but fundamentally.That's a really good placement by Simon [Bowland] in the second panel. I use sound effects very sparingly, because I want the art to tell the story and I'm always afraid they'll look silly, but every time I need one Simon makes it seamless.2006 It's hard to look back and appreciate stuff you've worked on because you tend to see the flaws, but this is pretty cool.THE LONE RANGER * MATTHEWS * CARIELLO * WHITE * CASSADAY DYNAMITE H ENTERTAINMENT Alternate incentive cover to The Lone Ranger #1THE LONE RANGER MATTHEWS * CARIELLO * WHITE * CASSADAY * DYNAMITE ENTERTAINMENT Second printing cover to The Lone Ranger #1 Read more FREE comics on ReadComicOnlineTHE LONE RANGER: Behind the Reids, more RANGERS. They're no- nonsense men, their skin leathery from the ele- NOW & FOREVER ments and earnest living. John is noticeably younger than the rest, not carved from the Written by Brett Matthews stone they are. PAGE ONE Their number is six. [NOTE: all the Texas Rangers wear the Lone Ranger's trademark white hat. This is historically accurate, though it and their boots and their badges were really the only consistent elements of what could loosely be called a uniform.] [NOTE: John Reid rides a russet stallion named DUSTY throughout this issue, which he raised himself from a colt. In established mythology, Dusty was the Lone Ranger's first horse.] PAGE TWO A true splash page. One image and our title. Wide, establishing angle. The Texas range. Wide open space. Hard land. Brush. Clouds of dust. All beneath an endless, cornflower blue sky. The West as we know and dream of it. In it, the caravan of Texas Rangers. The six are all on horseback, follow the trail of tracks we saw on Four page-spanning horizontal panels, equal in Page One. The tracks lead into a canyon ahead, a size. This layout will not be uncommon. The West blood-red rock formation of towering height that was wide. dominates the landscape. It's ominous somehow. Panel One: There's a narrative box on the page. It precedes dia- Overhead angle on dirt. Horse tracks are clearly logue. visible in it, cut in and out of frame. They lead off panel. NARRATIVE BOX Texas, 1869. Panel Two: FATHER REID Cropped angle. A man on a horse, holding the Tracks lead into the canyon. reigns. We don't see all -- if any of his face as he considers the tracks from the previous. His gun is a FATHER REID large FG element, well-worn from a lifetime of oil Be nice to get out of the sun and use. PAGE THREE Panel Three: Panel Two is the largest panel on the page. The Close and cropped on the shirt of the man above. first is an insert set within it, the following Pinned to it, the distinct and battered badge of the beneath. Texas Rangers. Panel One: Panel Four: Close on a young, cherubic face. Looking at it, you We finally see the man's face [FATHER REID] and can tell it's John Reid as a boy. He's beyond happy, that of those he rides with his sons DAN REID yells: [who is pretty much Steve Rogers. A big, blonde, corn-fed farm boy with an easy smile JOHN REID and demeanor] and JOHN REID [younger and (burst balloon) slighter than his brother, more gangly and dark- Dad! featured].JOHN REID Did you kill him Panel Five: Reverse of the above, looking up at Father Reid from what would be John's perspective. He looks tired and sad, from what he's just had to do and a lifetime of doing it. FATHER REID See to the horses, John. FATHER REID Wash up before supper. PAGE FOUR Panel One: Wide angle to establish our scene. Father Reid sits on a massive, gnarled tree stump in back of the Panel Two: ranch. John is behind him, is understandably apprehensive. The page's hero, a wide and establishing angle on the Reid Ranch and the stunning vista that sur- JOHN REID rounds it. It's a simple, one-story home with the (small lettering) best backyard ever. Pure country, not yet marred by You wanted to see me, Dad? the ever-expanding city. FATHER REID Young John is running out of the house, toward the I did, John. object of his attention his father and brother, both on horseback, coming in from the plains. FATHER REID There may be other Rangers with them, but there Sit down. don't have to be. The elder Reids are covered with dirt, tired from a long day's ride. Panel Two: A narrative box lets us know that what we're seeing Closer than the previous, but still full figure on our was: characters. John has joined his father on the stump. His feet dangle, don't quite reach the ground. NARRATIVE BOX Father Reid doesn't look at his son as he speaks: Thirteen years ago. FATHER REID Panel Three: I did kill that man today. Cropped profile, to accentuate the difference in FATHER REID size between the two characters we see. Father Reid He was a bad man. deserved it. is dismounting his horse. John right in his shadow. had it coming. John is eager to see his father and to hear what are to him great tales of adventure, tell of the world Panel Three: beyond the ranch. Close on Father Reid. finally looks at his son to JOHN REID say: Did you get the bad man, Dad...? FATHER REID Panel Four: That doesn't make it a good thing. Looking down on John, essentially his father's Panel Four: point-of-view. John's head snaps to the side as his father slaps him across the face, in response to and Close on John. So very confused. So needing to cutting off what he says: know: JOHN REID Why?Panel Five: JOHN REID You cut the tree down to build the house. Wide again, like the first on the page. Father Reid Lots of others, too. has stood up, has his back to John and us, on his way to the ranch house in the BG. As he goes: Panel Three: FATHER REID Close on John, his little face set and certain of: That's something, you'll have to reckon for yourself. Do that, you'll know JOHN REID you're a It doesn't mean you don't miss the shade. FATHER REID Panel Four: And what kind. Close on Father Reid. His expression tells us how PAGE FIVE very proud he is of his son, the man he's going to become. He smiles, satisfied, as he says: Equal horizontals, for effect. All four images on the page are exactly the same -- the only thing that FATHER REID changes is the time of day. Get to bed, John. Panel One: PAGE SEVEN John sits on the stump, alone, deep in thought. Trying to puzzle what his father said. It's still light out. Panel Two: Same as One, but the setting sun hangs low in the sky. Panel Three: Same as One and Two, but it's the space between night and day. The sun's gone, it's dark, but not quite pitch. The ranch house is lit up behind John. Panel Four: Same as the preceding three, but it's the dead of night. John has been pondering for hours. The lights in the house are out, so it can't even be seen. PAGE SIX Panel One: Panel One: Close on Father Reid, present day. It's a graphic Close on Father Reid. He's just been woken in the match to the last panel on the previous page, the middle of the night, by the sliver of light that falls difference being that Father Reid is much older. across his face and: He's not smiling anymore. JOHN REID/OFF PANEL NARRATIVE BOX The stump... Thirty minutes ago. FATHER REID DAN REID/OFF PANEL John? You all right, Dad? Panel Two: FATHER REID I'm fine, Dan. Full figure on John Reid, who stands in the door- way to his father's darkened bedroom, backlit. He FATHER REID continues the answer it has taken him all day to I was just... thinking. find:Panel Two: Full page. Extreme high angle. We're up in the bluffs, looking Wide angle, on the floor of the canyon. The other down at the mounted Rangers. In perfect position Rangers -- most notably his brother and father -- for an ambush. Far below, the Reid's conversation react as Dan is shot in the back, gutted by a rifle continues: round fired from above. He's already toppling off his horse, a ragged exit wound ripped in the fabric FATHER REID of his black vest. What are you thinking, John? PAGE NINE Panel Three: Panel One: Close on John as he tells his father, as torn as he was on the stump. Something about this isn't sit- Close on John Reid. He's older than in previous ting right in his gut. flashbacks, probably around eight or nine. He looks anxious. JOHN REID That this is a long way for a regular NARRATIVE BOX like Collins to go, just to duck a nigh Nine years ago. in the cage. DAN REID/OFF PANEL JOHN REID C'mon, Johnny... Small-time thief like him, their whole reason for stealing is they're too lazy to Panel Two: do something else. Wide angle to reveal John's cause for concern. He JOHN REID stands on one side of a gorge, Dan on the other, It doesn't make sense. encouraging him to jump over. It's a big leap, one Dan has already made. A fall would be fatal. Panel Four: DAN REID Dan Reid claps his younger brother on the shoul- I'll catch you. der as their father looks on. Dan's smiling like always, and his tone follows suit: Panel Three: DAN REID The same angle as the previous panel. John jumps. And there goes little brother, trying to He's suspended in mid-air as we see him. We can't spook us with that big brain a his. tell whether he'll make it or not... DAN REID Panel Four: Too much schoolin' stuck in that head of yours, Johnny Boy Angle over Dan as he grabs his brother's collar and arm, keeps him from going back over the edge. PAGE EIGHT John came up a little short, but Dan was there, like 8 always. John is wide-eyed, fresh from his brush with death. JOHN REID You did it. JOHN REID You caught me. Panel Five: Medium shot, dead-center on the two brothers as they walk towards us to continue their trek. Dan hooks an arm over John's shoulder, equal parts hug and headlock, says: DAN REID No, you did it. Read more FREE comics on ReadComicOnlineDAN REID -- There's an SFX cutting into his balloon, a gun- I just did what brothers do. They don't shot: ever let each other... SFX PAGE TEN KRA-KRAK 10 Father Reid's eyes are blank as it slams into his back. PAGE ELEVEN Panel One: 2 Wide as Father Reid topples off his horse. We see John in the BG, wounded, a look of horror on his face. Seeing it all. Panel Two: John's horse Dusty gets hit by a stray round. Dusty falls, takes John with him. Panel Three: Father Reid is dead in the foreground. John is prone, crawls to him with what little he's got left, leaves a trail of bloody mud behind. reaches for his father, is about to Panel One: touch him. Dan Reid lands facedown in the dirt, open-eyed JOHN REID and dead. His words from the flashback conclude in a dialogue box: Panel Four: DAN REID/DIALOGUE BOX Fall. Close on John as he makes contact [off panel] with his dead father. The feel of death changes him, Panel Two: makes his face cold and hard. Something in him dies right then and there. Close on John as he screams and draws his hunk- of-steel gun, having just watched his brother go Panel Five: down. Cropped angle on John's good hand [it should be JOHN REID his off one, his left] as it takes his fallen father's (burst balloon) holstered gun. Dan!!! JOHN REID/OFF PANEL Panel Three: I'll kill you all, you sons of bitches Wider on John as he aims the gun in the direction PAGE TWELVE of the shot that downed Dan. His gunhand is hit [unintentionally] by a round from an entirely dif- I'm thinking three equal horizontal panels, allow- ferent direction, torn up. ing each to have nice size and weight. Panel Four: Panel One: Close on Father Reid as the horrible realization of what's happening hits him. Waist-up on John as he rises, his father's gun in his hand, makes to fire. His eyes are dark with hate as FATHER REID he screams: (big balloon, small letters) JOHN REID We're surrounded (burst balloon) I'll kill you all!Panel Two: GANG LEADER Go collect your thirty pieces. A moment after the previous. Bullets cut the air, rip into John from all directions. Panel Four: Panel Three: Leading Collins as he runs away from the gang, just as fast as he can. Wide angle. John Reid is the last Ranger to fall. GANG LEADER PAGE THIRTEEN Rest of you boys Panel Five: Close on the Gang Leader as he smiles, reveals ruined teeth. PALE GANG LEADER Mask up. PAGE FOURTEEN Five equal panels, frozen slivers of one rising 'movement' from page's beginning to end. Panel One: Very close on John Reid, just his eyes. They're open, but dim. The life in them is fading fast. Panel Two: Wider than the previous, probably a standard close-up. In it John's eyes close, for what seems the Panel One: last time. On the squinting, ruddy mug of a GANG Panel Three: LEADER. He's crouched behind rocky cover, looks down the barrel of a just-fired Wider still. We see John and his father and his long rifle. brother, all slain on the floor of the canyon. Fish in a barrel. A gruesome tableau. GANG LEADER That's the last. Panel Four: Panel Two: Again, wider. Looking down at the whole of the canyon now, everything in it still and unmoving. Close on a pale, beady-eyed redhead, COLLINS. All is death. The beginnings of clouds obscure the He's near the Gang Leader, jumps a bit when he foreground. calls him by name: Panel Five: GANG LEADER/OFF PANEL Collins Widest and infinite. Nothing but perfect blue void and the clouds that occupy it, we're up so high. It's beautiful. Panel Three: A voice from we know not where: Wide-ish on the scene as the GANG MEMBERS responsible for gunning down the Rangers gather DAN REID/DIALOGUE BOX around their leader. Collins is at the center of their It's so pretty, what's before me circle, uncomfortable as hell there. He's not cut from the same, rough cloth as the burly men that surround him.PAGE FIFTEEN JOHN REID Not anymore. 15 DAN REID Well, you'll need prove it. Train only goes so far as here -- Panel Three: John casts a sideward glance at the train, still spit- ting its filth in the BG. JOHN REID Yeah. And 'here' gets further out every year. DAN REID/OFF PANEL What I'm meanin' to say, Johnny Boy... Panel Four: Close on John. He starts to smile as Dan puts the question to him, his eyes alight with the challenge: DAN REID/OFF PANEL The first panel is by far the biggest. The remaining Can you still ride? need not be large, can be in a vertical gutter or laid over the first if it bleeds. PAGE SIXTEEN Panel One: Full page. John and Dan, riding hell-bent for leather. They're at top speed, John using his dandi- A hulking, black steam engine has just pulled into fied hat to encourage Dusty on. Wind rips at the a modest train station consisting of little more than brothers, who smile as big as the dusky sky a wooden platform parallel to the tracks. The train above as they race for home. dominates the frame, belches black smoke into the blue sky above the same blue sky from the last This image is why there will always be westerns. panel on the previous page. PAGE SEVENTEEN John Reid [eighteen years old here] has just gotten off the train, is greeted by his brother. John is Panel One: dressed in a matching suit/vest/pants, a not-cow- boy hat on his head, a suitcase in each hand. Dan Dan and John sit on either side of Father Reid, is outfitted like a cowboy, dirt from the ride cling- who is at the head of the table. Dinner is on it, the ing to his clothes, smiles broadly. room lit with candlelight at the end of a long day. The heads of all three men are bowed in silent and NARRATIVE BOX earnest prayer. One year ago. FATHER REID JOHN REID Amen. Stow it, Dan. Panel Two: Panel Two: John takes the napkin off the plate in front of him, Dan throws an arm over John's shoulder as they finds a blood-red bandana beneath. There's some- walk down the platform. John is natty, dark, and thing inside it. dour. Dan is bigger than life, all sunshine and light. JOHN REID DAN REID What's this? Lighten up, city boy. It's good to have you back. [NOTE: get used to the bandana. We'll see it again, so its design should be considered. Simple is prob- JOHN REID ably best.] I'm not a city boy. Read more FREE comics on ReadComicOnlinePanel Three: Panel Four: Looking over John's hands, which work to unfold Cropped close on the badge, now pinned to John's the bandana, to his father. does not look at shirt. The astute reader will note [as should our John as he speaks: colorist] that the color of his shirt is the same as John was wearing at the beginning of the issue, not FATHER REID during the dinner table scene. What you've earned these last months. The tips of some fingers are in frame as well, paw FATHER REID the badge. I can't say I understand why you want it, but... PAGE NINETEEN Panel Four: On John as he reacts to what's inside the bandana. We can't see the object, which he holds just beneath the bottom of frame. Whatever it is over- whelms John. PAGE EIGHTEEN The first panel is the page's hero, at least a full half of the layout. Panel One: John's point-of-view. He/we are looking at the iconic badge of the Texas Rangers, a silver-circled star held in his/our fingers. The star is big in panel, owns the frame. Embossed around the circle: TEXAS RANGER. Panel Two: This layout is a graphic match to Page Fourteen, Leading Father Reid as he walks away from the and as such consists of five horizontal slivers. table. Behind him, still seated, John just stares at Instead of capturing a 'rising' movement, here the badge and Dan calls out: we're moving 'down'. Panel One: DAN REID Guess you can hang 'em up now, Pa. Like the last panel on Page Fourteen, whispy white clouds and brilliant blue sky. Nothing else. Father Reid taps his shirt pocket in response to that, says: Panel Two: FATHER REID Lower than the previous, a wide angle shot of the Soon enough, Dan. Soon enough. canyon. John Reid should be somewhere near the center of frame, his brother and father and horse [NOTE: we might need a SFX here, which I try to dead around him. A GAUNT MAN is standing avoid using unless necessary, to sell Father Reid's over John, bent over his prone body. action. Something as lame as: "tap tap" would do if it comes to that.] Panel Three: Panel Three: Over the Gaunt Man to John, who remains Close on Dan as he directs his attention to his motionless even as the unnamed man tries to take brother. the badge pinned to his chest. DAN REID Panel Four: Well, don't just stare at it, Johnny Boy... Extremely close on John, just his eyes. They snap open.NARRATIVE BOX GAUNT MAN/OFF PANEL Now. 'Course, take one to know one JOHN REID Panel Three: Keep your filthy hands off it, you son of a -- Looking over the barrel of the Gaunt Man's gun as Panel Five: he presses its notched nose between John's eyes. The same frame as the last, save that in it John's eyes have gone from angry to startled as they take GAUNT MAN/OFF PANEL in the Gaunt Man. There may even be fear there. Wouldn't it? GAUNT MAN/OFF PANEL PAGE TWENTY ONE What's the matter, The first panel is an insert embedded in the sec- PAGE TWENTY ond, which is by far the largest in the layout and dominates the page. The third spans the width of the page beneath, can be very thin. Panel One: The insert is essentially John's point-of-view, look- ing up at the Gaunt Man and down the barrel of his gun, waiting for him to fire But he doesn't. The Gaunt Man's body stiffens. His fingers go slack. The gun begins to fall from his hand. Panel Two: Waist-up on the Gaunt Man as he clutches his throat. The reason the tip of an arrow has burst through it from the back. Blood stains burlap. It's a perfect and mortal wound. GAUNT MAN (burst balloon) The first panel takes up a full two-thirds of the HRRRKKKK page, can bleed. The following are below it, much smaller, can be embedded. Panel Three: Panel One: John uses what little strength he has to raise his head, trace the arrow's trajectory back to its source, Low angle, perhaps canted reveal of the Gaunt sight his savior. This angle should be wide enough Man. He's a frightening sight tall and long of to see some of his body, the holes in it, remind us limb as he crouches over the reader, sticks his face how gravely wounded he is. in ours so we can get a better look. But his face really isn't one -- there's a flour sack or the like tied PAGE TWENTY TWO over and covering it, ghostly pale burlap obscuring all the features that aren't the eyes, which peer at us Full page. through ragged holes. The eyes are cold, tell us they'll have no problem killing us all over again. A wild-haired man sits bareback on a horse at the edge of a rocky outcropping, a bow in his hand, the GAUNT MAN setting sun at his back casting him in silhouette. You look like you've seen a ghost. The scene is rendered in deep reds and blacks. The angle should be at least slightly low to replicate Panel Two: where John would be seeing him from. Cropped angle as the Gaunt Man pulls his gun This is TONTO. from its holster, cocks the hammer. END OF ISSUE ONESKETCHBOOK BY SERGIO CARIELLO the2006 3 SCOUT BLACKCHARACTER DESIGNS BY JOHN CASSADAY HXin as he object, which ame Whatever it is overwh THE MAKING END PAGE OF PAGE EIGHTEEN The first panel is the page the layout. Panel One: John's point-of-view. He/we of the Texas Rangers, a si 3 fingers. The star is big i Embossed around the circle TAP Panel Two: Leading Father Reid as he him, still seated, John calls out: * D on RANG RANG WELL GUESS YOU NOW, HANG STARE AT SOON a be The END EIGHTEEN