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RAPID CITY #33 by Josh Dahl joshdahl75@gmail.com 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. Low angle shot of Icicle after having her right arm cut 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. 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. 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. Templar has turned back into the old hippie he was originally. He looks shocked and angry. Wide shot of the whole scene. The four of them are still 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. The pieces Coil crouching and lifting Icicle's arm by the elbow. 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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reach with the other. OLD HIPPIE Give me that. It's not yours. It's dangerous. COIL Why? How does it work? Is there a curse or something? OLD HIPPIE No. I need it. Panel 4 Coil shoving the Old Hippie to the ground. Charge is nearby now, watching with amusement. COIL I think I see what kind of danger this is. And you're just a dirty junkie, aren't you? CHARGE Ha! Panel 5 Charge leaning over the Old Hippie, gloating. Coil is now holding the arm by the hand and inspecting the ring closely. In the background, Icicle is watching them, horrified, training to stay on her feet and hold back the the blood. CHARGE You thought you were pretty cool, huh? Crashin' on in here to save the girl. But look at you now. CHARGE Hell, look at her! Some rescue. Panel 6 Closer on Icicle. She is still dazed, but also angry. ICICLE Coil! ICICLE Coil, we're not done. Page 3 Panel 1 Regarding the disposition of a ring Coil addressing the old hippie, who is still on the ground at Charge's feet. Coil is again holding up Icicle's arm so that he can look at the ring. COIL You know what the difference is, between you and me, old man? COIL I'll tell ya. Panel 2 Tight shot on Coil use wires coming form his hand to

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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 is hitting 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 back toward 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. 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 wrap up 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). Splash page. 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. 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 Panel 1 Panel 2 Aftermath Stretching across the top of the page. All black. 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 Panel 1 Hospitalized. A large shot of a hospital room with one bed. Icicle is 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 Panel 2 Caption Panel 3 A room... Tight on Icicle's eyes. They are well lit, and barely open. In a hospital. This is a hospital bed. 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. Is this where I was going? It was supposed to be... 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. He's a cop. He was at a diner. HARTBORN You're awake. Do you want the nurse? Caption Caption Panel 5 I was hungry there and he made me mad. No, don't come here. 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. Why was I mad at him? Go back. Hartborn standing up near his chair 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 Caption Page 7 Panel 1 Icicle looking down at her stump. We both are. Coil's call. 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. Closer on Coil. He is now using some of the thin wires 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 SHARD That 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 looking at 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 and attacking Coil. KING SHARD Go ahead, Hector. Page 8 Panel 1 Panel 2 On the floor. Tight shot of Hector's booted foot smashing into Coil's shin. 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. COIL What 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 Panel 1 The Syndicate 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 the screen. 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 raise up 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 Panel 1 At the hospital Wide shot of the hospital room. Hartborn sitting, but leaning forward to talk. Icicle is ignoring him and touching her bandaged arm-stump. HARTBORN Looks 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 calming hand. 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? HARTBORN It'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. ICICLE I can't help you. I don't know anything. Page 11 Panel 1 What do you know? 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 voice snottily. 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 even tone. 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. HARTBORN I 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 to the 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 Panel 1 Coil stews. Coil stomping angrily down a hallway in his office building. 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 this new info. Hector just watching him do that. COIL Yeah? 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 I wasn't really bad. Panel 3 Wider shot showing Andrew standing at Icicle's bedside. 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 was sitting 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, I can 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 Panel 1 The door 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. Icicle is 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. Icicle leaning 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 Panel 1 Hartborn talks to the guards 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. Hartborn turning to watch the nurse walk away. 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 open investigation, 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 it spreads 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 Panel 7 inter cut talking about the situation. 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 Panel 1 What he did. 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 and Heartattack 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. ANDREW But 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 dark and 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 Panel 1 Hourglass. Andrew looking down, looking dark. ANDREW Her 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 to Icicle. 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 Panel 1 Bad guys roll out. This page is all wide panels stretching across the page. First is a flight of villainous silhouettes taking to the skies. A crew of menacing looking bad guys in the back of a panel-van. Claw-Hammer, also inside is lowering the door. A crew of monstrous looking bad guys creeping through a dark alley. Charge pulling his pick-up truck out of the hide-out, followed by that panel van. Coil is riding shot gun. Skyline, a speedster, is running through the streets. She is keeping pace with three of the Red Alert Motos. Crimson Ghost, high above, watching these villains move out. The call in the hall 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 and Hartborn looks curious.

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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. HARTBORN Who'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 Page 20 Panel 1 Hartborn reluctantly taking his revolver from its shoulder holster. The Gray 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. ICICLE I 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.

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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 Panel 5 The guard and the captain coming into Icicle's room suddenly. Hartborn is following them. 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 Panel 1 Splash 1 Full page shot in the hospital hall way. The small group 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 captain bringing 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 Page 22 Panel 1 Small inset panel of Icicle looking frightened at this prospect. It's not nothing. Full page panel. The people in the hospital's emergency room scattering as Charge's truck smashes through a wall of windows. Charge and Coil are visible in the truck, absolutely thrilled.

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