rapid city #33
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RAPID CITY #33
by Josh Dahl
Page 1 Where are they now
This page is six equally tall panels stretching
the width of the page.
Panel 1 Charge has just returned to his feet after being
smashed to the ground. He is looking at something
off-panel with shocked amusement.
Panel 2 Low angle shot of Icicle after having her right armcut off last issue. Her eyes are wide and her face is
slack and she is looking hard away from the remaining
stump. Her left hand is grasping at the stump. She
has some ice forming on her hand and just a bit on
the stump. She is trying, with little success, to
stop the flow of blood.
Panel 3 We see some of Icicle staggering in the deep
foreground. The main focus of the shot is Coil. He
smiles with pride as bloodied wires re-wrap
themselves around his arms and wrists. He is looking
at Icicle.
Panel 4 Icicle's right arm, which has been neatly cut off
half way through the bicep, laying in the snowy
grass. Blood is melting the snow. It is still wearing
Templar's ring.
Panel 5 Templar has turned back into the old hippie he wasoriginally. He looks shocked and angry.
Panel 6 Wide shot of the whole scene. The four of them arestill in the front yard of Icicle's former residence.
The rest are looking at Icicle as she staggers away
from the house. Her belongings are still in boxes
along the curb. The sky is a darkening gray.
Page 2 The pieces
Panel 1 Coil crouching and lifting Icicle's arm by the elbow.
Panel 2 Standing now, Coil grips the arm by the forearm,close to the elbow, and holds it so that he can look
at the ring on the finger.
COIL
This is it, huh? This little ring gave you all
that power.
Panel 3 The old hippie stepping angrily toward Coil and
reaching for the ring. Coil is easily holding the man
back with his free and and moving Icicle's arm out of
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remove the ring from Icicle's hand.
COIL
I know what to do with power.
Panel 3 The old hippie yelling at Coil from the ground.Behind him, Icicle is still approaching. Ice armor is
forming along her remaining arm and on her head.
OLD HIPPIE
That power will destroy you!
ICICLE
Give me back my arm!
Panel 4 Wider shot showing Coil throwing the arm. The arm ishitting one of the boxes of Icicle's stuff.
COIL
How about I put it with the rest of your garbage.
Panel 5 Very low angle shot from in the street looking backtoward Icicle. In the foreground is the arm laying in
the street. Behind it, we can see that its impact
tipped the box of stuff into the street. The box was
mostly empty. Behind the box, we can see Icicle
desperately lunging for the limb.
Panel 6 Charge standing next to Coil. They are both watching
what is going on in the street. Charge looks a little
worried. Coil is smug.
CHARGE
Come on, man. Enough playin' around. We gotta wrapup this Icicle situation.
COIL
No, I think it'll be ok.
Panel 7 Similar to panel 5, but now we see Icicle over the
arm and about to pick it up with her left arm, which
is now mostly covered in spiky ice-armor. If we are
observant, we will notice the harsh shadows cast by
oncoming headlights (even though it is only early
evening).
Page 4 Splash page.
Panel 1 The entire page. A mini-van smashes into Icicle. It
is going less than thirty mph, so it is not
catastrophic, but we can see her going limp with the
impact and all of her ice armor shattering around
her.
Panel 2 Inset across the bottom of the page, a close shot
Icicle landing in the street and hitting her head
hard on the ground. Her eyes are open and rolling
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back, her face is slack.
Page 5 Aftermath
Panel 1 Stretching across the top of the page. All black.
Panel 2 Blurs and spots of light. Word balloons just float
here and there. The balloons and words can also blur
in and out.
SOMEONE
Is she ok?
SOMEONE
Her arm! Look at her arm!
SOMEONE
Call... Someone call...
Panel 3 A clear horizon line, but jacked at a 45 degree
angle. The pavement stretches toward infinity. There
are tracers of light wiggling in from the edges.
SOMEONE
This is what you choose.
SOMEONE
...issue damage. What is all...
Panel 4 Icicle's POV as she is held in the arms of the flying
superhero, Vector. He is smiling down at her.
VECTOR
Hey! There's that pretty smile! Stay with me now,ok?
VECTOR
What's your name?
Panel 5 Piledriver, wrapped partially in wire, reaching out
from darkness.
PILEDRIVER
Icicle.
Panel 6 Similar shot to panel 4, but everything is much
darker.
VECTOR
Almost there. You going to be ok.
Page 6 Hospitalized.
Panel 1 A large shot of a hospital room with one bed. Icicleis in the bed, hooked up to am IV drip. Near the foot
of the bed, Hartborn is sitting and reading a book.
All of this is slightly obscured as though there were
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super bright lights in the room.
Caption A room...
Panel 2 Tight on Icicle's eyes. They are well lit, and barely
open.
Caption In a hospital. This is a hospital bed.
Panel 3 Icicle peering weakly, but suspiciously, at the door.Hartborn is looking up from his book, but he is not
the main focus of this panel.
Caption Is this where I was going? It was supposed to
be...
Panel 4 Icicle on one side of the panel, Hartborn on the
other. She is half sitting up and trying to look at
him. He leaning forward in his chair.
Caption He's a cop. He was at a diner.
HARTBORN
You're awake. Do you want the nurse?
Caption I was hungry there and he made me mad.
Caption No, don't come here.
Panel 5 Icicle, irritated with the thin blanket, is pulling
it off. We can clearly see the bandaged stump of her
arm, though she has not noticed it yet.
Caption Why was I mad at him?
Caption Go back.
Panel 6 Hartborn standing up near his chair
Caption He's here because of Coil.
HARTBORN
I'll let the doctor know you're awake. Then you
and me are gonna have a conversation.
Panel 7 Icicle looking down at her stump.
Caption We both are.
Page 7 Coil's call.
Panel 1 Coil in a large, cement-floored, storage rooms. He is
surrounded by unevenly stacked boxes of computers and
other stolen goods. There is a lot of empty space on
the floor. He is holding up the ring and considering
it.
Panel 2 Closer on Coil. He is now using some of the thinwires that are wrapping his hand to hold the ring a
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few inches above his open palm. He is looking like he
is almost mad at it.
Panel 3 Closer still on Coil. He is losing it just slightly.He has both fists clenched (one presumably holding
the ring) up near his face, which is contorted in
silent rage. Hector's word balloon comes from off
panel. It is to the far right and bottom of the page.
HECTOR
Coil
Panel 4 Hector walking through a door into the room. He is
carrying a device bigger than a phone but smaller
than your average tablet. Coil is looking over at him
with surprise.
COIL
What is it?
HECTOR
There's a call you need to take.
Panel 5 Hector stepping toward Coil, he is pointing the
screen of the device toward an open patch of ground.
All of Shard's speech comes from the device.
COIL
What is it?
HECTOR
Is this good?
KING SHARDThat will do just fine.
Panel 6 Hector standing right in front of Coil,, he is
holding out the device, Coil is reaching for it.
HECTOR
Here. You need to take this.
Panel 7 Small shot from Coil's point of view. He is lookingat an image of King Shard on the screen. Behind the
screen image, Hector is standing there. We can just
barely see that he is moving lightning fast andattacking Coil.
KING SHARD
Go ahead, Hector.
Page 8 On the floor.
Panel 1 Tight shot of Hector's booted foot smashing into
Coil's shin.
Panel 2 Tight shot of Hector's fist smashing into Coil's
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stomach.
Panel 3 Low angle shot looking up at Coil, in the extreme
foreground, being forced to the ground by Hector.
Hector is using a grip on Coil's arm and shoulder to
guide him quickly and painfully to the floor.
COIL
Errr.
HECTOR
Part of the job, Coil.
Panel 4 Similar to panel 3. Hector is grabbing Coil's hand,which still holds the device, and turning it toward
Coil's face. The wires on Coil's arms, hands, and
neck are snaking toward Hector.
COIL
You're dead. Dead.
HECTOR
Just take the call.
KING SHARD
Coil, we have to talk.
Panel 5 Shot of the device in Coil's hand. Shard is on the
screen.
KING SHARD
You'll ignore what Hector did just now. I told him
to get your attention this way.
KING SHARD
When you're laying on the ground, I know you're
listening. Don't get up.
KING SHARD
Coil, this report that I recently received has
shaken my confidence in your ability to manage an
operation the size of Rapid City.
Panel 6 Coil laying on the ground and sneering at the screen.
COILWhat report?
KING SHARD
It is no secret that your lieutenants, Charge and
Hector, work for me. They are exactly as loyal to
you as I tell them to be. So, please, don't act
surprised to learn that they are reporting on you.
KING SHARD
Now, let me tell you why this report was so
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distressing.
Page 9 The Syndicate
Panel 1 Wide shot looking at Coil laying on the ground
holding the device. Hector stands nearby, at ease.
KING SHARD
The Syndicate operates on respect, fear, and
intimidation. Our crews are not composed of
anonymous foot-soldiers who are content to earn
their way through the ranks.
KING SHARD
No, every single person in our outfit is a
posturing ego-maniac who thoroughly believes that
he should be in the spotlight. That is the nature
of our business.
KING SHARD
We only manage to thrive under these conditions
due to to our judicious application of respect,
fear, and intimidation.
Panel 2 Looking over Coil's shoulder at Shard talking in thescreen.
KING SHARD
Try to imagine my... dismay when I heard about
your earlier altercation in which you seem to have
thrown these tools aside.
COIL
I sent a clear message.
KING SHARD
Your message was clear, Coil, but it wasn't what
you thought it was.
Panel 3 Closer on Shard as he gets more angry.
KING SHARD
The outcome wasn't the message, the fight was the
message. Syndicate bosses don't brawl in the
streets with their underlings.
Panel 4 Shot of Hector looking calmly down at the situation
on the floor.
KING SHARD
You destroy their illusion of you when you step
into their world. As word spreads of this
incident...
KING SHARD
...every single one of your men will consider, if
just for an instant, how he would fare against
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you. And just like that, fear erodes and gives way
to ambition.
Panel 5 Tight on Coil's face. He is restrained rage.
KING SHARD
A true leader, one who is respected and feared,
can turn his back on a room full of daggers.
Panel 6 Coil, still holding the device is starting to raiseup with the other hand. Sort of a half push-up.
KING SHARD
You represent The Syndicate now, and you represent
me. Your weaknesses will become our weaknesses.
And that is the Crux of it.
KING SHARD
Do whatever you have to do, Coil, to keep this
from becoming my problem. My solutions are quick
and simple.
Panel 7 Coil now standing, but still crouched.
KING SHARD
Take swift action, word is already spreading.
Page 10 At the hospital
Panel 1 Wide shot of the hospital room. Hartborn sitting, but
leaning forward to talk. Icicle is ignoring him and
touching her bandaged arm-stump.
HARTBORNLooks rough. The doctor said that you would still
be a bit groggy from the pain meds they've got you
on. That's not ideal, but I don't have time to sit
around while you recuperate.
HARTBORN
You can understand what is going on here, right?
You recognize me?
HARTBORN
My name is Lester Hartborn, I'm a special
investigator with the MRA.
HARTBORN
We spoke once before, over breakfast. Do you
remember?
ICICLE
Yes. I know who you are. Where am I?
Panel 2 Close on Icicle considering the missing arm. She
looks worried and confused. Hartborn's balloon comes
from off panel.
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HARTBORN
You're at Bronson general. You've been unconscious
for a few hours. You lost a lot of blood along
with the arm
ICICLE
Where is it?
Panel 3 Wider shot, Hartborn standing and raising a calminghand. Icicle, agitated, is raising her voice.
HARTBORN
There was nothing they could do. It was laying in
the street for a while before anyone found it. And
by the time they did, there was just too much
damage.
ICICLE
Where is it?
HARTBORNIt's medical waste now. It'll be incinerated.
Panel 4 Close on Icicle in a desperate panic.
ICICLE
It's my hand. They can't take my hand.
Panel 5 Hartborn now standing and looking very stable
HARTBORN
The doctors didn't take your arm. Coil did. These
people are helping you survive the damage that man
did. You get me?
ICICLE
What do you want?
Panel 6 Tight on Hartborn looking serious.
HARTBORN
Coil.
Panel 7 Icicle looking afraid and alone in her hospital bed.
ICICLEI can't help you. I don't know anything.
Page 11 What do you know?
Panel 1 Hartborn taking a step toward Icicle and gesturing
toward her. She is raising her stump and nodding
toward it.
HARTBORN
The man took your arm off. You must know
something. You know what makes him mad.
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ICICLE
This? This happened because I walked out of a room
without his permission. What do you think The
Syndicate will do to me if I talk to you? Get out
of here.
Panel 2 Shot of Hartborn from roughly Icicle's point of view.He is partially framed by the door behind him.
HARTBORN
I'll be going soon enough. We both will. So let me
explain the situation you're in right now. Right
out side this door are two armored agents waiting
to take you to a federal facility where you will
be charged and prosecuted for your crimes.
Panel 3 Icicle and Hartborn. She is raising her voicesnottily. He is stepping toward her and raising his
voice back at her. He is gesturing toward the door.
ICICLE
What crimes? Getting my arm torn off.
HARTBORN
Even if they've got nothing on you, they can
shuffle paper, and schedule hearings, and you
won't see daylight for years. That's happening.
That's right outside the door.
HARTBORN
And then, of course, there's The Syndicate. But
you already know about them.
Panel 4 Close on Hartborn talking in a very serious and eventone.
HARTBORN
I'm the only one that's going to talk to you. I'm
the only one interested in what you know. You walk
out that door now and you're leaving your only
chip on the table.
Panel 5 Hartborn at the bedside looking serious. Icicle
looking scared.
HARTBORNI had to pull some strings to get these few
minutes with you, Icicle. Let's not waste them.
ICICLE
You can't do anything for me. You can't protect
me.
Panel 6 From out in the hall. Hartborn opening the door tothe hospital room. The armored federal guards who are
flanking the door are turning to look at him.
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Another shot in the hallway. In the foreground,
Andrew is sitting in a chair, he had been reading a
magazine, but is lowering it to look up at Hartborn.
In the background, Hartborn is standing in the open
door, flanked by the two guards.
HARTBORN
Andrew, she wants to talk to you.
Page 12 Coil stews.
Panel 1 Coil stomping angrily down a hallway in his officebuilding. He is accompanied by Hector, who is a few
steps behind him.
COIL
Who's here? In the building, right now?
HECTOR
Not sure. Charge, Crimson Ghost, some of those
girls down from G.R. Monster's probably still
here, too.
COIL
Not enough.
Panel 2 The two of them still walking, closer on their faces.Coil is leering out the corner of his eye at Hector.
Hector's balloon is at the far right, showing passage
of time.
HECTOR
What's the plan?
Panel 3 Coil turning a leaning aggressively toward Hector.
Hector is calmly stepping back.
COIL
You got some kind of problem here?
HECTOR
Not me.
COIL
Then that attitude better--
Panel 4 Hector looking icily at Coil.
HECTOR
Coil. I'm here to get things done. That's my job.
When Shard needed you on the phone, I got that
done. And that's all it was, a job.
Panel 5 Closer on Hector still looking icy.
HECTOR
If you want to read into it, and take that
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personally, then do it. But right now, my job is
to assist you in whatever it is you're planning.
And your attitude is preventing me from doing
that.
Panel 6 Coil and Hector face to face. Coil thinking over thisnew info. Hector just watching him do that.
COILYeah?
HECTOR
That's right.
Panel 7 Coil walking off down the hall and speaking to Hector
without looking at him.
COIL
Ok, then. Get more guys here. Now.
Page 13 Andrew in the room.
Be sure that the hospital panels and the villain
panels each have their own distinct lighting, etc.
There must be no confusion.
Panel 1 Shot on Andrew's feet as he stands next to Icicle's
bed. All that needs to be clear is that these are
fairly nice shoes on a tile floor. Obviously, his
words come from off panel.
ANDREW
You're not bad, are ya? I used to think no one was
bad.
ANDREW
And, you know, everyone was just doing the best
they could.
Panel 2 Tight shot on Andrew's smiling mouth. No context for
where he might be.
ANDREW
That thinking let me get away with... well, some
stuff. I would just do whatever I wanted and get
away with it. Then I'd convince myself that Iwasn't really bad.
Panel 3 Wider shot showing Andrew standing at Icicle'sbedside. She is watching him, worried. He is just
talking.
ANDREW
You know how that works, right?
ANDREW
Anyway, that attitude really helped me when I
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became an agent. I worked mostly with protected
informants.
Panel 4 Andrew walking over to the chair where Hartborn wassitting and gesturing toward the closed door.
ANDREW
That's what Hartborn wants me to tell you about,
incidentally. If you come in, you work with us, Ican pull some strings. That's what I do. You won't
have to worry.
Panel 5 In the "rec room" at Coil's hideout. In the
foreground, Charge is chatting up the three "girls
from G.R.", Slate, Trauma, and Skyline. Hector is in
the doorway behind them, but only Slate has noticed
him. Andrew's words appear as a caption box.
ANDREW
Anyway, I could work so closely with the bad guys
because I convinced myself that they weren't
really bad. They were just being how life made
them.
Panel 6 Andrew dragging the chair over to the bedside.
ANDREW
The real upside, though, was the door that opened
for me.
Page 14 The door
Panel 1 At Coil's hideout, Claw Hammer and Crimson Ghost are
in the Ghost is distractedly pointing down the hall.Hammer is staring daggers of hate at him. Andrew;s
words appear as captions.
ANDREW
No matter what I did, so long as it wasn't worse
than what my snitches had done...
ANDREW
I couldn't be bad. I knew they weren't truly bad,
and they were worse than me.
Panel 2 Shot from the side of the bed opposite Andrew. Icicleis looking at him, worried. He is looking at her,
solemn.
ICICLE
What are you talking about?
ANDREW
Bad guys.
ANDREW
Coil.
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Shot of Icicle cradling her stump.
ANDREW
He's not like the others I've worked with. They
were all just selfish, or frustrated, or greedy...
stuff I could relate to. But not Coil.
Panel 4 Shot of some cotton balls and stuff on a dresser,
Icicle and Andrew are in the background.
ANDREW
When he first hit my case log, I figured some
stuff out about him and tried to run a game on
him. A little run-of-the-mill extortion. He
flipped it on me without missing a beat.
Panel 5 A panel larger than most of these have been. Icicleleaning slightly toward Andrew. She is sick of this
story.
ICICLE
Stop. Why are you telling me this?
ANDREW
So you'll believe me when I tell you that that man
is evil and any action you take against him must
be good.
ICICLE
Evil? Because he tricked you? You don't know what
you're talking about.
Panel 6 Andrew looking serious.
ANDREW
No, Evil because of what he did once he had me.
Page 15 Hartborn talks to the guards
Panel 1 Hartborn stands in the hall with the two armored
guards. Hartborn and the captain of the guards look
at each other in silence. There is a nurse pushing a
cart of supplies right in front of them.
Panel 2 Hartborn turning to watch the nurse walk away.
Panel 3 Similar to panel 1. The captain looks irritated.
CAPTAIN
How much longer is your boy going to be in there?
HARTBORN
I can't say, Captain. Obviously, I'm not in there.
HARTBORN
But I promise you, we want this wrapped up just as
much as you do.
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The Captain looking up at Hartborn, who is the taller
of the two.
CAPTAIN
All due respect, Inspector Hartborn, I don't think
you do. My men and I have a wanted criminal in
custody. We bring her in right now, and we all go
home tonight knowing that we did good today.
CAPTAIN
After that, you want to know something from her?
Just go see her in the lock-up.
HARTBORN
You have to know it's not that simple.
Panel 5 A large shot of the Captain, ideally running down the
entire right side of the page as he talks.
CAPTAIN
I appreciate that you are running an openinvestigation, here. I really do. But you have to
understand our situation.
CAPTAIN
In a public place like this security is an
illusion. The moment we hit our security blanket
is as tight as it will ever be. Every second after
that, the integrity of the situation erodes.
CAPTAIN
That nurse might know better than to mention us to
anyone, but the next one might not. And then itspreads exponentially. Every interaction she has
after that is another chance for her to let some
piece of information slip.
CAPTAIN
Multiply the number of people who are aware of our
presence, by the number of people they encounter
while we're here.
CAPTAIN
Loose lips will sink this ship, Inspector. I
promise you that.
Panel 6 inter cut talking about the situation.
Panel 7 Guard captain gets a call from the desk
DESK
She has a visitor. Her husband is here.
HARTBORN
That's them. They know she's here.
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CAPTAIN
Then everything that happens now is your fault.
Page 16 What he did.
Panel 1 Overhead shot of Icicle and Andrew talking.
ANDREW
Back before The Syndicate solidified, Coil was a
small-timer out on the west coast, using a few
different names.
Panel 2 Outside the villain hideout, Arachnoid andHeartattack sneak across the rooftop. Andrew's speech
is a caption.
ANDREW
Then he went away for a while and re-surfaced on
the MRA's books as an informant. I don't know how
that happened.
ANDREWBut when the file hit my desk, he had been placed
here in the Rapid City hero community.
Panel 3 In the hideout, in Coil's office. It is pretty darkand there are a ton of wires snaking out from all
over and wrapping themselves around his arms, chest,
and neck. Andrew's words appear in captions.
ANDREW
Did you know that? For a while he was working as
one of the good guys.
ANDREW
He never did much, as far as helping people. I
doubt he did any good at all. But he was able to
move in the right circles.
Panel 4 Coil standing in that darkened office. Alone with his
wires.
ANDREW
He's got no humanity...
Panel 5 Andrew talking to Icicle.
ANDREW
...you know this, so he is actually very good at
that kind of undercover work. Usually an operative
has to submerge his own identity to pass as
something else. Coil, though, has nothing to
submerge.
Panel 6 Close on Andrew, he is looking frustrated now.
ANDREW
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You understand me? It doesn't matter. The point
is, he started to meet all of these people as he
was feeding us information on them.
ANDREW
To him, these heroes were just stupid kids that he
could mess with. But to a lot of them he seemed
like the cool older guy.
Panel 7 Shot of Icicle now interested in where this story is
going.
ANDREW
Must have anyway, because this one girl... a
superhero... she fell for the image he was
projecting.
Page 17 Hourglass.
Panel 1 Andrew looking down, looking dark.
ANDREWHer name was Hourglass. I've read her file dozens
of times now. She was a sweet kid. Looking for
adventure. You know how young girls can be.
Panel 2 Icicle watching Andrew tell his story to the floor.
ANDREW
They fall in love, it makes them dumb. She
probably saw his emptiness and figured she could
get him to open up. Maybe that's how her dad was.
Who knows? But she started getting close to him.
Panel 3 Tight on Andrew, wide eyed as he remembers what
happened.
ANDREW
And he let her. Until, I don't know, maybe she got
too close. Maybe she saw what he really was. And,
just like that, he was done with her.
Panel 4 Andrew now looking up and speaking straight toIcicle. He is resolutely telling a hard truth. She is
a little shocked.
ANDREW
He used me. He used my connections. And he hired a
psychopath to murder the girl. She was just a kid,
younger than you, having fun. And he killed her.
For what?
ICICLE
I'm sorry.
Panel 5 Andrew standing up from his chair.
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ANDREW
Don't be. Not for me. I played my part in killing
that girl. I'm bad. I know I am. But I'm not like
him.
Page 18 Bad guys roll out.
Panel 1 This page is all wide panels stretching across the
page. First is a flight of villainous silhouettestaking to the skies.
Panel 2 A crew of menacing looking bad guys in the back of a
panel-van. Claw-Hammer, also inside is lowering the
door.
Panel 3 A crew of monstrous looking bad guys creeping through
a dark alley.
Panel 4 Charge pulling his pick-up truck out of the hide-out,
followed by that panel van. Coil is riding shot gun.
Panel 5 Skyline, a speedster, is running through the streets.She is keeping pace with three of the Red Alert
Motos.
Panel 6 Crimson Ghost, high above, watching these villains
move out.
Page 19 The call in the hall
Panel 1 Wide shot of Hartborn and the two guards standing in
the hall outside Icicle's room. The other guard is
touching his earpiece.
HARTBORN
Please understand, Captain, that depending on the
outcome of this conversation, we may need to take
Icicle into protective custody here.
CAPTAIN
Are you gone? This is a hospital. That's simply
not possible.
Panel 2 Hartborn smiling slightly to defuse the situation.
Behind him, the other guard is signaling to get the
captain's attention.
HARTBORN
Of course not, I meant to secure her locally
rather than federally.
GUARD
Sir, it's the shift supervisor from the ER.
Panel 3 The three of them. The Captain looks irritated andHartborn looks curious.
d City #33 by Josh Dahl joshdahl75@g
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CAPTAIN
What reason could he possibly have for contacting
us?
GUARD
He wants to know what he should tell her husband?
He's looking for her.
HARTBORNWho's husband?
Panel 4 Hartborn is stunned by his realization. The Captain
is angry.
CAPTAIN
You would think the man running the ER would know
what does and does not qualify as an emergency.
HARTBORN
Hang up. She doesn't have a husband.
Panel 5 The captain now angry and in Hartborn's face.
CAPTAIN
What did you just say?
HARTBORN
She's not married. Someone just found out where
she is.
CAPTAIN
Whatever happens now is all on your head.
Panel 6 Hartborn reluctantly taking his revolver from itsshoulder holster.
Page 20 The Gray
Panel 1 Wide shot of Andrew standing in the hospital room,
pointing to an imagined line on the floor.
ANDREW
Maybe there's a gray area between good and bad.
But not between good and evil. Coil's evil.
ICICLEI know.
Panel 2 Andrew stepping closer to Icicle.
ANDREW
That means whatever we do to him... hurting him,
arresting him, even killing him... must be the
right thing.
Panel 3 Andrew even closer, looking intense.
d City #33 by Josh Dahl joshdahl75@g
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7/31/2019 Rapid City #33
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ANDREW
And whatever else happens, I'm not going to stop
you from doing the right thing. You understand?
Panel 4 The guard and the captain coming into Icicle's room
suddenly. Hartborn is following them.
Panel 5 The guards flank the door while Hartborn grabs a
wheelchair from the wall.
ANDREW
What's going on?
CAPTAIN
Visiting hours are over people. Time to move.
Page 21 Splash 1
Panel 1 Full page shot in the hospital hall way. The smallgroup moves quickly along. The guard leads the way,
followed by Andrew who has drawn his pistol, Hartborn
pushing Icicle in a wheel-chair, and the captainbringing up the rear.
CAPTAIN
This could be nothing, but there's no way I'm
letting this situation slide any further out of
control.
CAPTAIN
We are taking the prisoner into custody
immediately.
Panel 2 Small inset panel of Icicle looking frightened atthis prospect.
Page 22 It's not nothing.
Panel 1 Full page panel. The people in the hospital'semergency room scattering as Charge's truck smashes
through a wall of windows. Charge and Coil are
visible in the truck, absolutely thrilled.