| Michael and Lester arrive back at the garment factory. One of the factory's workers hands the processed photos to Lester. |
| Factory Worker: |
Here are the photos. |
| Michael and Lester head into the office. |
| Lester: |
My workers have their uses. Okay, let me set this up. |
| Lester puts the photos on the planning board, which already has Vangelico's blueprints, an EyeFind Maps satellite photo of the rooftops, a part of the map of Downtown Los Santos stiched to go along with a map of a subway path as an escape route. |
| Michael: |
(chuckles) Nice to see the methods haven't changed. |
| Lester: |
Well...we gotta figure out what we're doing somehow, all the crews, the roles, prep work. Don't want to leave evidence behind on a hard drive. So, yeah, the er...methods don't change. |
| Michael: |
Right, not for a pro. |
| Lester: |
(chuckles) Well, mapping out the options and showing you all the angles, that's my area of professional expertise. But making decisions, that is your domain, my friend. Here. |
Lester finishes putting the photos on the planning board. NOTE: When replaying The Jewel Store Job, the setup for the job starts here. |
| Lester: |
There's two ways I see of doing this - we go in smart, or we go in loud and dumb. Remember the vents? If we're gonna be smart, we pump a little knockout gas through the air system, then hit the cabinets while everyone's out. You'll have to source the gas, of course, but crowd control won't slow you down, and that might improve the take. The cover is pest control, so no one will look twice when you're wearing gas masks, that means getting a pest control van, though. You go in dumb and you'll need your famous way with people and four carbine rifles. We can't buy 'em and risk 'em getting traced. No no no, we gotta find some in circulation. It's awkward, it's real awkward, but this is the gun favored by LSPD tactical teams, so one of their vans is probably a good place to look. A hacker can disable the cameras, the length of time depends on their ability. The alarm will be operating on the same window. The exit strategy is more or less the same for both options: the driver you pick will, of course, source some bikes. You come out of the store, and make your way through the new subway tunnel they're digging off the Del Perro Freeway. You lose the cops in there and meet a truck in the LS River. |
| Michael: |
Alright, I want my guy, Franklin, on the getaway. He can handle a bike. |
| Lester: |
Alright, if you vouch for him, I'll take the risk. So, how do you wanna do this? Run in through the front door, or try to play it smart? |
| The player decides on the approach. |
| Lester: |
Ah, still a hothead? Some things never change. Select personnel with that in mind. As ever, the better they are, the bigger the cut. Now, the driver, they'll source the bikes, lead you out through the tunnels. |
| The player decides on the getaway driver. Unless otherwise noted, the lines of dialogue run when the player selects each person. |
| Lester: |
Eddie Toh. Well, you can count on him to get you out of a spot. |
| Lester: |
Ah, okay. This one's new blood. I've seen him drive, but I haven't seen him under pressure. |
| Lester: |
Guns. It might be hot and heavy in there, this guy'll keep it from going bad. |
| The player decides on the gunman. |
| Lester: |
Gus Mota. He's a pro, not much else to say. |
| Lester: |
Ah, Norm, came across as a bit of an idiot, but could be useful. |
| Michael: |
I got a good feeling about him. |
| Lester: |
Hacker. Back office, but this is the person who will determine how long you'll get inside. |
| The player decides on the hacker. |
| Lester: |
Harris. Good. Feminine touch. She'll be able to find any back doors they got. |
| Lester: |
Feltz. Okay, he's not the best, but if you move fast, that won't matter. |
| Michael: |
This guy - Rickie. I met him at the Lifeinvader office. He may not be that good, but he's enthusiastic. |
| Michael: |
Let's take a chance on him. |
| Lester: |
- If you're happy, I'll start making the arrangements.
* That look good to you? Are you sure? * If this is how you want to do it, I'll get moving.
|
| The player confirms their choices. |
| Lester: |
Okay, I'll look into how you can find a tac team and get their weapons, and I'll be in touch. |
| Lester: |
Ah, you've grown wise and cautious in your age. Okay. Select personnel with that in mind. As ever, the better they are, the bigger the cut. Now, the driver, they'll source the bikes, lead you out through the tunnels. |
| The player decides on the getaway driver. Unless otherwise noted, the lines of dialogue run when the player selects each person. |
| Lester: |
Eddie Toh. Well, you can count on him to get you out of a spot. |
| Lester: |
Ah, okay. This one's new blood. I've seen him drive, but I haven't seen him under pressure. |
| Lester: |
Guns. We're hoping to keep quiet, so this guy shouldn't make much difference. |
| The player decides on the gunman. |
| Lester: |
Gus Mota. He's a pro, not much else to say. |
| Lester: |
Ah, Norm, came across as a bit of an idiot, but could be useful. |
| Michael: |
I got a good feeling about him. |
| Lester: |
Hacker. Back office, but this is the person who will determine how long you'll get inside. |
| The player decides on the hacker. |
| Lester: |
Harris. Good. Feminine touch. She'll be able to find any back doors they got. |
| Lester: |
Feltz. Okay, he's not the best, but if you move fast, that won't matter. |
| Michael: |
This guy - Rickie. I met him at the Lifeinvader office. He may not be that good, but he's enthusiastic. |
| Michael: |
Let's take a chance on him. |
| Lester: |
- If you're happy, I'll start making the arrangements.
* That look good to you? Are you sure? * If this is how you want to do it, I'll get moving.
|
| The player confirms their choices. |
| Lester: |
Great, I'll do some research on a pest control van and the knockout gas, and I'll be in touch. |
| Lester: |
Ah yes, good...good. I'll call you when everything's ready. You'll need to pitch it to the guys. |
| Michael: |
Whoa, what, my rep don't count for nothing no more? |
| Lester: |
You're a dead man, Michael. I'll call you. |
| Michael leaves the garment factory. |
|