There is within The Three Princes an intense shootout. Imagine the sudden roar of approaching vehicles, the rattle of tommy-guns echoing off the buildings that line the narrow city street. A man goes down and his companions rush to his aide, one helping him off the ground and into the safety of a vehicle, the others laying down covering fire with their own machine guns.
The whole affair unfolds over three pages. As Manoel submitted the page sketches I could see the elements of my script were accounted for but something just didn’t seem right. The placement of one of the vehicles and the characters’ positions relative to it were confusing me. There appeared to be an issue with continuity.
We exchanged a number of emails about these three pages, I describing what I felt was wrong and Manoel trying to explain how he approached and interpreted the script. We were both communicating openly and honestly but we just couldn’t get those pages to click even after a couple major revisions.
Then Manoel had an idea. He drew a sketch that showed the position of the vehicles and the characters during the scene. I took one look at it and realized why Manoel and I weren’t seeing eye to eye. I envisioned The Boxer’s car as being parked, and Manoel was envisioning it as being in motion, meaning that Twitchy was pulling up to pick up The Boxer, and in doing so was shielding Grady and The Boxer from the Italians’ gunfire.
I was trying to see the pages as I had written them. I wasn’t thinking about how Manoel drew them. I wasn’t seeing those pages as he saw them. Once I saw his sketch though it clicked and I could understand the artwork. All that remained were a couple minor tweaks and then we had three stellar pages. Manoel has since inked those pages and they are among my favorites in The Three Princes.