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Description
batman lunaire script: [link]

PAGE TWO
Splash page art, with three smaller panels in a row at the bottom.

SPLASH
A side-on (approximately, your call) angle of the chase, the rusty red car now with a grapple hook shot through the rear window to the front, fixed to a cable that the BATMAN clings to. The BATMAN has jumped from his bat-cycle, which is slowing down, and is being pulled along on the cable, his cape flowing dramatically out behind him.
There's a small and discrete FX coming from the grapnel gun that the BATMAN holds at the end of the cable, indicating that he is being reeled in by it towards the car.

FX: TZZZZIP!

There's a small caption by the bat-cycle, with jagged edges to indicate a mechanical, automated speaker.

BAT-CYCLE: ZZZ...AUTO-PILOT ENGAGED...ZZZ

The road is a city expressway (Tokyo has some exciting examples of this) on stilts, with the city's monolithic skyscrapers in silhouette in the background. The sky is a livid, seared yellow colour, a night perpetually glowing with the city's activity, similar to the eerie yellow backdrop to the early Bob Kane Batman stories.

2.1
Small panel, in row with 2.2 and 2.3.
The four criminals in the car are reacting to an impact on the roof. We're seeing it from inside the car, so think about an angle that looks up at the roof and catches their expressions.
Again, we want to see the man in the read with the gun.
The FX is coming from the impact on the roof.

FX: DOOMF!

2.2
Small panel, in row with 2.1 and 2.3.
Close-up on one of the criminal's faces. Maybe the driver. We can really see the cheap, smudgy grease of his chalk face paint now.
He's angry, shouting.

CRIMINAL: KEEP IT COOL, JERKS! THE BOSS SAID HE HAD A PLAN FOR THE BAT!

2.3
Small panel, in row with 2.1 and 2.2.
We're following the car from above, and we can now see the BATMAN clinging to the roof, his cape spilling out behind him.

Description
batman lunaire script: [link]

PAGE TWO
Splash page art, with three smaller panels in a row at the bottom.

SPLASH
A side-on (approximately, your call) angle of the chase, the rusty red car now with a grapple hook shot through the rear window to the front, fixed to a cable that the BATMAN clings to. The BATMAN has jumped from his bat-cycle, which is slowing down, and is being pulled along on the cable, his cape flowing dramatically out behind him.
There's a small and discrete FX coming from the grapnel gun that the BATMAN holds at the end of the cable, indicating that he is being reeled in by it towards the car.

FX: TZZZZIP!

There's a small caption by the bat-cycle, with jagged edges to indicate a mechanical, automated speaker.

BAT-CYCLE: ZZZ...AUTO-PILOT ENGAGED...ZZZ

The road is a city expressway (Tokyo has some exciting examples of this) on stilts, with the city's monolithic skyscrapers in silhouette in the background. The sky is a livid, seared yellow colour, a night perpetually glowing with the city's activity, similar to the eerie yellow backdrop to the early Bob Kane Batman stories.

2.1
Small panel, in row with 2.2 and 2.3.
The four criminals in the car are reacting to an impact on the roof. We're seeing it from inside the car, so think about an angle that looks up at the roof and catches their expressions.
Again, we want to see the man in the read with the gun.
The FX is coming from the impact on the roof.

FX: DOOMF!

2.2
Small panel, in row with 2.1 and 2.3.
Close-up on one of the criminal's faces. Maybe the driver. We can really see the cheap, smudgy grease of his chalk face paint now.
He's angry, shouting.

CRIMINAL: KEEP IT COOL, JERKS! THE BOSS SAID HE HAD A PLAN FOR THE BAT!

2.3
Small panel, in row with 2.1 and 2.2.
We're following the car from above, and we can now see the BATMAN clinging to the roof, his cape spilling out behind him.