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RAPID CITY #28 BY JOSH DAHL joshdahl75@gmail.com Page 1 Panel 1 A Re-cap. 5 panels This page is all wide shots going across the whole width of the page. This is a wide establishing shot of Rapid City's less inhabitable neighborhoods. It is a cool November night. HARTBORN is stepping out of the elevator into his hotel lobby. A southerner, he is bundled more warmly than anyone else. The only other people in the lobby are returning to their rooms at the end of a night of partying, Hartborn is on his way to work. COIL sitting in a VIP room with CRIMSON GHOST and some classy hos. The VIP room from another angle. Here we see HECTOR cautiously surveying everything. A police mag-light clattering onto pavement with broken glass falling around it. Splash. 1 panel Full page. To escape from the back seat of her truck, ICICLE has iced all the way around the door that one of the COPS was looking through. That mass of ice is connected to her arm, and she uses it to force the door open and bash the cop who was standing there. What we actually see in this panel is her forcing her way out of the vehicle, the car door is at the end of a mass of ice on her arm, she is using it like a bludgeon to knock one officer aside. It was this officer's light we saw on the previous page. The other officer is startled and reaching for his radio. I fought the law. 4 panels Icicle in the parking lot, facing the two cops from the previous page. She has dropped the ice-encrusted truck door. The officer she hit with that door is hitting the ground. The other officer is drawing his pistol. She is growing spiky ice armor on her hands, arms, and shoulders. COP 2 Hold it! ICICLE No! Panel 2 Big panel of her lunging toward the officer who had

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been drawing his gun and punching him with a heavy ice gauntlet. He is coming up off the ground in a dramatic arc. Panel 3 Icicle standing in a dramatic post-fight pose. Now her ice armor is fully formed. She is looking around for another threat. Nearly the identical pose, but now seen from inside the patrol car. The dash-mounted camera is the central focus. To emphasize this, the panel could show some of the dashboard, including a display of what the camera sees. Just to be clear that she is on camera. She is looking right at the camera. ICICLE Cameras. Dammit! Page 4 Panel 1 Panel 2 And the law won. 6 panels Icicle smashing the front windshield, and camera, of the police cruiser with a large ice-fist. Large panel showing the current situation. She is standing in front of the police cruiser. The cops are on the ground but not unconscious, the door is torn off of her truck. She is iced up. The commotion has attracted the attention of customers and staff at the all-night grocery store. This last detail is the least essential. Tight on Icicle as she snaps her head toward the distant sound of oncoming police sirens. SOUND EFFECT weeeee-oooo. weeeeooo Panel 4 A large ice-hand slamming down on the nearest officer, who seemed to be crawling to his feet. The large fingers around him form an ice-cage on the ground. Small panel, possibly inset, of Icicle's hand slipping the cops wallet from his pocket. Icicle running away from the scene of the crime, now carrying her gym bag. If it can be shown, she is running toward the rear of the grocery store and there are more cops pulling into the lot with their flashers going. On the run again. 5 panels Now behind the grocery store, Icicle is tearing through a chain-link fence leading to blackened underbrush.

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Pull back to see where Icicle is going. She is past the fence and moving down steep, brushy, incline toward a set of railroad tracks. Behind her, there are lights blasting through the fence. Panel 3 Panel 4 Close on Icicle looking back up toward the cops. She is angry and desperate. A cop from one of the newly arrived patrol cars standing at the hole in the fence and shining a flashlight down in to the brush. Icicle, now far away, climbing to the top of the cement incline where a highway passes over the tracks. She looks haggard and tired. ICICLE Damn cops. Page 6 Panel 1 Hartborn and the cops. 6 panels A wide establishing shot back at the parking lot. We can see Icicle's truck, the damaged police cruiser, 4 or 5 new cruisers, and an ambulance. There are people from the store standing around and gawking. Hartborn's large rented sedan and ANDREW's non-descript car are also there. Andrew and Hartborn meeting between their respective cars. HARTBORN Evening. ANDREW Yeah. HARTBORN I'm gonna take a look at her vehicle. Talk to the cops, see if they know anything. Panel 3 The two cops who initially encountered Icicle are standing near the back of the ambulance. There are EMTs standing near them and checking for obvious signs of injury. This checking goes on through the scene. We also see Hartborn walking toward the smashed cop car. ANDREW Are you the two that called it in? COP 2 Yeah. Who are you? ANDREW My name's Andrew Hussman. I'm a case manager with the local MRA office.

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Hartborn in the foreground leaning in to take a close look at the smashed window. In the background, we see Andrew talking to the cops. COP 1 This girl was one of your cases? ANDREW She's on the books, but she's not one of mine. We're after one of her "known associates". That's why her plates were flagged. COP 2 Yeah. Thanks for that. Panel 5 For the rest of this scene, the conversation with the cops appears as captions floating over Hartborn's investigation. This panel is a shot from inside the car, looking past the smashed dashboard camera, through the broken windshield, and past Hartborn. We are seeing the back of his head as though he was simulating the sight-line of the former camera. ANDREW You guys are ok? You checked out? COP 1 Just bruises. Maybe freezer burn. They're giving us a free ride down to Borgess General anyway. Panel 6 Hartborn walking over to where the truck door lies on the ground. There are still ice crystals clinging to the edges of the door. There is no significant puddle of water below it. ANDREW Better safe than sorry. You mind if I ask you a few questions first? It'll only take a minute. COP 1 Might take less than that. There's not too much to tell. Page 7 Panel 1 CSI:RC. 5 panels Hartborn looking through the passenger-side front window of Icicle's truck. He is looking down at a fast food bag sitting on the front seat. It is open and there cup of soda in the cup holder between the seats. The other characters are still speaking as captions. ANDREW You know how it is. Gotta be thorough. This stuff is all about the details.

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ANDREW So tell me, of all the cars in the lot, why'd you run these plates? Panel 2 Hartborn now has the door open and is holding up a receipt that he fished out of the fast food bag. COP 1 Store manager asked us to take a look. She noticed it had been out here all day. Sometimes people ditch stolen cars in public lots like this, so we ran the plates. ANDREW And that's when you got the red flag and called it in. Panel 3 Hartborn now leaning through the torn open door and looking at the spot where Icicle was sleeping. There is a tiny pillow against the far door and a thin blanket. COP That's right. "inter-agency gotta give us 2 So, hey listen, we're all for cooperation" and all that, but you a heads-up in a situation like this.

COP 1 No kidding. It would've been helpful to know about her powers before getting bashed with a car door. Panel 4 Andrew talking to the cops with Hartborn walking up in the background. These are normal balloons again. ANDREW Sorry about that one, guys. That's my fault. But, we never expected her to still be in town. The most we were hoping to find was some kind of clue about where she'd run off to. COP 2 I can tell you that. Panel 5 Cop 2 is pointing toward the back of the store, where other cops are still shining lights down through the hole in the fence. Hartborn is now standing with them. COP 2 Right through that fence. Page 8 Panel 1 Fence hole. 5 panels Andrew and Hartborn standing at the hole in the fence looking down. HARTBORN
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We were right, Andrew. ANDREW How's that? HARTBORN Something's wrong with this whole picture. Anything seem odd about what the cops told you? Panel 2 Close on Andrew talking and looking thoughtful. Maybe we can see the ambulance pulling away in the background, but that is not essential. ANDREW Kind of. Usually these calls come in from suspicious traffic stops. Something with probable cause. But this got called in as an abandoned vehicle. ANDREW She was here the whole time, though. Doing what? Waiting for someone? Panel 3 The two of them talking. Andrew is spit balling ideas. he excited about putting things together. HARTBORN No, she was sleepin'. Had her dinner here, too. ANDREW She figured she was on camera for that smash and grab and there would be cops watching her place. Maybe all her scumbag friends figure the same thing. ANDREW She's too hot, no one'll take her in. Panel 4 Hartborn turning back toward the cars, away from the fence. HARTBORN She could sleep in her car anywhere in the country and she chooses to stay in the one place she's most likely to be spotted. ANDREW What's she stickin' around for? Panel 5 Hartborn looking seriously into the distance. Andrew is behind him now. HARTBORN You already know what I think. ANDREW

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Coil? You think he's got something on her? HARTBORN Looks that way. Page 9 Panel 1 Her night. 5 panels Later that night, Icicle walks along the side of concrete bridge where a main road is crossing a set of railroad tracks. She is carrying the gym bag. Her clothes are in rough shape after running through the brush. The cold never bothers me. But hunger does. Exhaustion does. Cars just pass me by. We can see a hint of the bridge she was crossing in the background. In the foreground, she is hunkered down behind a long-unused set of newspaper boxes. She is sliding a few bills out of the cops wallet that she took. The way it is flopped open, we can see the cop's badge. Twenty six bucks. That's it. Icicle is caught in the lights of a passing car, she raises her arm to shield her face. We can see rips and smears of dirt on her sleeve. Still crouching, she is pulling Piledriver's leather jacket out of her gym bag. Icicle walking down the same street, further down, wearing the leather jacket with her hood pulled up from under it. Her hands are jammed into the pockets and her head is down. How long can I be this alone? Hartborn on the case. 8 panels From inside Andrew's car. He is driving, and Hartborn is leaning down to talk to him. It is still dark out. As the following sequence unfolds, dawn is just breaking. ANDREW I still haven't been home. You mind logging all of this? HARTBORN Not yet. I've still got a thing or two I want to check out. Panel 2 For the rest of this scene, Andrew and Hartborn's dialog appears as captions floating over the images.
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These images are as small as possible and form a montage of him looking all over. This image is of Hartborn now in his car looking at a notebook sized, spiral-bound, street atlas of Rapid City. He is tracing his finger along the path of a railroad. ANDREW There's nothing left to see, man. She's gone. HARTBORN She must be somewhere. Panel 3 Hartborn showing a mug shot of Icicle to a guy behind the register at a Shelby's restaurant (Rapid City's version of Denny's). HARTBORN She was desperate, sleepin' in her car, and now she doesn't even have that. Panel 4 Hartborn standing outside a donut shop that has not yet opened. HARTBORN She's been out in the cold all night. Panel 5 Hartborn walking through a busy diner, scrutinizing a hungry 3rd shift. HARTBORN That cop said he had about twenty-five bucks in his wallet, and the fast food receipt said she had a couple of cheese-burgers around 9pm last night. Panel 6 Hartborn walking into a less crowded diner ANDREW So she wants food? Panel 7 A steaming cup of coffee being placed on a table in front of someone in a leather jacket. HARTBORN She wants a hot cup of coffee. Panel 8 A larger panel. No longer a montage, the dialog is once again in balloons. Hartborn stands at the end of the table at a booth where Icicle is seated. She is looking up at him suspiciously. He is looming. HARTBORN Morning, Ma'am. You mind if I join you? Page 11 Panel 1 Hartborn gets some coffee. 6 panels Icicle looking down at her coffee, not looking up at Hartborn at all.

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ICICLE I'm not interested. Go away. Panel 2 Hartborn sliding in to the booth across from Icicle. She is looking appalled. HARTBORN Young lady, I just want to ask you a few questions. If you allow me, I'm sure you'll be interested. ICICLE I told you to screw off, pervert. Panel 3 Hartborn looking thoughtful. HARTBORN Hm, no. My name is Lester Hartborn, I'm a special investigator for the MRA. HARTBORN Do you know why I want to talk to you? Panel 4 Both of them in the shot, Icicle staring back icily. ICICLE No. Panel 5 A WAITRESS interrupts them by placing a coffee mug in front of Hartborn. He looks up at the waitress amiably. WAITRESS You need to see a menu? HARTBORN No ma'am, I know what I'll have. Scrambled eggs with cheese, a side of bacon, and wheat toast. And put whatever she's having on my bill. Panel 6 The waitress looking down at Icicle, waiting for her order. Icicle is nervous. ICICLE I'll have the same. Page 12 Panel 1 Order up. 6 panels As the waitress walks away, Hartborn and Icicle continue talking. HARTBORN You know that the MRA and the local PD are two different agencies, right? ICICLE A cop's a cop.

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HARTBORN True. But I'm a cop whose most pressing concern is not the encounter you had last night, Icicle. Panel 2 Icicle lifting her mug. ICICLE Icicle? I don't know who that is. Why don't you just tell me what you want so I can tell you 'no' and we can enjoy our eggs? Panel 3 Hartborn raising his cup and looking back thoughtfully. HARTBORN Ok. Alright. Panel 4 Hartborn resting his mug on the table again and looking very serious. HARTBORN The reason I'm sitting down here with you, instead of sitting in my car and calling in back-up, the reason we're having this conversation, is because I don't think you will say 'no'. HARTBORN Not when you hear what I want. Panel 5 The two of them watching each other for reactions. HARTBORN I want Coil. HARTBORN I want to know what he's up to, and I want to stop him. HARTBORN And I want you to help me. Panel 6 Icicle staring back. She is putting two and two together and not liking the out come. She is a little scared. Two and Two. 5 panels The two of them still talking. ICICLE So, what are we talking about here? A deal? I help you, you help me? HARTBORN He's got something on you. I know that. So you help me get on his back, he get's off yours. Panel 2
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Icicle leaning back and shaking her head. ICICLE No. ICICLE No way. Panel 3 Icicle sneering slightly. ICICLE You're cutting corners. You're going off the books. You're desperate. Something about Coil's got you scared. ICICLE A week ago, he and I would have been no different to a guy like you. ICICLE But now, suddenly, I'm just a way to get to him. Why's he suddenly gone up in value? Panel 4 Icicle leaning forward and continuing to sneer. ICICLE I think you know exactly what he's up to, and you want to get it handled quietly before it blows up. ICICLE So let's say I agree and I help you go after Coil. Then what? We cut a deal? You make some charges disappear? So what? ICICLE If Coil's a Syndicate boy now, do you think you can offer me more than they can take away? No way. ICICLE Nothing. If they want me dead, there's nothing you or the MRA can do to stop them. Panel 5 Pull way back. Hartborn is raising his eyebrows slightly, considering what she said. Icicle is looking around for the waitress. HARTBORN Syndicate... ICICLE Ma'am! Can I please get mine to-go? Page 14 Panel 1 Panel 2
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Hold on. 5 panels Icicle walking over to the counter. Hartborn is watching her and starting to slide out of the booth.

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Hartborn rising to his feet. HARTBORN Now, just hold on a minute, Stephanie. You didn't let me finish. Panel 3 Icicle turning from the counter to face Hartborn. They are about 3 feet from each other. ICICLE Force the issue, then. You force it right now... Panel 4 Tight on her eyes as tiny, spiky, ice crystals grow around them. ICICLE And see what happens. Panel 5 Wider shot, now including the waitress at the counter with a to-go bag. The waitress is nervous about the confrontation in her dining room. Hartborn and Icicle are staring each other down. He is much bigger than her. WAITRESS Ma'am? WAITRESS Ma'am, your eggs are ready. Page 15 Panel 1 Back to work. 6 panels COIL, CRIMSON GHOST, CHARGE, and HECTOR, all wearing jackets, are walking down a hall of unused offices. Coil is scrutinizing the walls. Hector is talking to Coil. Ghost is distracted. Charge is checking his phone. HECTOR It won't even hit the market for another three months. So we can use it freely until then. COIL Good. Staying one place for too long isn't a good idea. HECTOR I agree. CHARGE You guys go on, I gotta take a leak. Panel 2 The other three keep walking as Charge turns to walk toward a door several yards behind them. Coil is watching him walk away. Close on Coil talking to Hector.

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COIL Why's he do that? HECTOR You serious? COIL Come on. That's not what I mean. Panel 4 Wider shot on Coil, Ghost, and Hector. Coil is gesturing down the hall where Charge went. COIL We all know he's call in his reports to King Shard. So why does he sneak off like that? You don't seem to have a problem with calling in reports right in front of me. HECTOR I guess he's just being a courteous southern gentleman. HECTOR And I don't really care what you think. Panel 5 Coil smiling slightly at Hector. COIL That could be. Or maybe it's not me he's shy around. Maybe he's calling in reports on you, Hector. Panel 6 Page 16 Panel 1 Hector looking at Coil. He is slightly amused. Reports. 6 panels In a large, empty, office. It has obviously been haphazardly cleared out and there are random things laying around. Coil is stepping in and Hector is hanging behind him in the doorway. The light is on in the hall, but not in this room. HECTOR That's what we're here to do, isn't it? Report on what we see. COIL That doesn't bother you? HECTOR You think he's got something to report on me? I've been doing my job. I'd be more concerned with what he's saying about you. Panel 2 Closer on the two of them talking. COIL

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Charge? He's an idiot. Let him say what he wants. What about you? What's in your reports. HECTOR Only what I've seen. You came in hard, made a good first impression. You built fear and respect. That's exactly how it's supposed to be done. COIL But? Panel 3 Hector speaking very matter-of-factly. Coil getting irritated. HECTOR But I don't think you'll last. You're counting on your personality to carry you through, but it's not going to be enough. COIL Oh? You don't think so? Who are you? HECTOR I'm not speculating. This system exists because this system works. We hand you this thing that has been working smoothly for hundreds of years, and you decide to play jazz with it. Panel 4 Hector pacing over toward the window, irritated with Coil. HECTOR You need to assign territories, captains, moles, rules of order, and you've done none of it. You don't think that's gonna bite you in the ass? HECTOR This is why I hate jazz. The song is written down, just play the song. Panel 5 Hector is looking out the window and Coil is looking at him, angry. COIL Ok. Panel 6 Coil relaxed a little bit. COIL So tell me, by the book, what's next? Page 17 Panel 1 Wheelin and dealin. 5 panels At a new car dealership, a young man who we recognize as STRETCHER from the previous issue is using a chamois to wipe down a shiny new car. He wearing a warm jacket and fingerless gloves. He is content at

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his work and enjoying music through ear buds. A voice comes from off panel. The captions in this scene are the continuation of Hector's speech. Caption You start with moles. ICICLE Stretcher. ICICLE HEY! Panel 2 Caption Stretcher turns to face Icicle. He is surprised and annoyed and is pulling the ear buds out. Fake ones at first... ICICLE I have to talk to you. STRETCHER No. Ma'am, I just wipe 'em down. You want to talk to a salesman in the show room. ICICLE (quietly) No, Stretcher, I need to talk to you. Panel 3 Caption Close on Stretcher looking serious. Just rumors about someone feeding you information. STRETCHER (quietly) No, Icicle, you need to get the hell out of her before you get me fired. Panel 4 Caption The two of them talking. Icicle now looks serious. Then do a few loyalty tests. Simple stuff. ICICLE I don't care about your job. Go on break and walk with me or I'll ice-up right here. Get it? Panel 5 Larger shot showing the sales lot and the dealership building. Closer to the foreground, and far to the right, Icicle and Stretcher are stepping off of dealership grounds and onto the sidewalk. He is lighting a cigarette. Drop a wad of cash in front of some goon... STRETCHER Now, what's so damn important? Page 18 Panel 1
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Icicle standing and facing Stretcher as he smokes on the sidewalk. Caption And see if he pockets it or not. ICICLE Do you know Coil? STRETCHER Sounds familiar. Why? ICICLE Coil killed Piledriver. Panel 2 Caption Stretcher looking shocked by this news. Icicle looking icy. The effect is almost immediate. STRETCHER What? No, he didn't. Piledriver's not dead. What are you talking about? ICICLE He did. I was there. His blood was on me. Coil killed him. Panel 3 Caption Stretcher looking shocked again. Anything could be a test, and anyone could be a snitch. STRETCHER Why...why are you telling me this? Panel 4 Icicle looking hard and accusatory. Stretcher looking nervous. ICICLE Because he was your friend, he had your back. And I know you'll do the right thing here. STRETCHER The right thing? You mean bringing it to Coil? ICICLE What else? What else could I possibly do? He killed Piledriver. Panel 5 Close on Icicle, looking wrathful. ICICLE So, yes, I am going to kill Coil. And if you were any kind of a man you wouldn't be asking these stupid questions. Panel 6 Stretcher talking as Icicle starts to turn away in

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disappointment. Caption After that, the system is self-policing and fake moles turn into real rats. STRETCHER Ice. It's not that simple. I got other things to consider here. ICICLE No you don't. Page 19 Panel 1 Coil is the game. 5 panels Stretcher pointing at himself seriously. STRETCHER I do. You don't because you're on a suicide mission here. You don't care what happens after this, but I do. Panel 2 Big panel of Stretcher holding Icicle by the shoulders and telling her how it is. STRETCHER I want to keep on living. And it sucks, but right now the way to do that is to play Coil's game. STRETCHER This Syndicate stuff is serious. You go after him and they come after you. STRETCHER But there's a way to do this. This isn't the first time there's been drama in the ranks. You wanna do this right, here's what you do. STRETCHER Fall in line. Play the game. Show them good faith. And then, once you're in, get it sanctioned. I'll back you. By then, who knows how many enemies he'll have made. Panel 3 Panel 4 Inset into panel 2, a small shot of Icicle looking serious and worried. Stretcher now looking serious and intense, talking close to Icicle. STRETCHER This pain you feel... this hatred... you think that's just going to stop? You think you're gonna forgive that man for what he did? STRETCHER Hell, no. You just gotta be tough and play it smart.

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Small silhouettes of Stretcher and Icicle. She is hanging her head and thinking about some very painful truths. Page 20 Panel 1 Betrayed. 3 panels In the office where Coil and Hector had been talking. The room has been swept out and turned into a make-shift office with a desk and some chairs. Coil is pushing a comfortable looking chair against the wall to make a little waiting area. Charge is entering the room. CHARGE Hey, Boss, someone's here to see you. Says there's big news for ya. COIL What's it about? Panel 2 Close on Charge. CHARGE Wouldn't tell me the whole story. Says those details are just for you. But here's a teaser... Panel 3 Taking up the rest of the page. Full shot of Coil grimly considering this news. CHARGE Seems some little crook out there is hell-bent on puttin' you in the ground. Page 21 Panel 1 Live or die. 5 panels It is an ice-cold mid-afternoon and the sun is blazing down. Icicle is standing with about 5 other people waiting for a bus on a desolate looking street. So that's the plan. Just wait for the right time to strike. Get The Syndicate on my side. Gather strength. And then take him down the right way. Close on her face and her eyes staring hatred into the distance. Coil goes on drawing breath and Piledriver doesn't even get a funeral. Wider shot, the other people are all looking up expectantly as the bus approaches, but Icicle is looking away. No. Screw him. He doesn't get to have any more days. He doesn't get any more chances to make it all right. He doesn't get to say good bye. Be

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doesn't get to beg for one more chance. Caption Panel 4 Caption He doesn't get to have any of the things that he took from me. Large shot of Icicle stalking away as the bus pulls off down the street behind her. Wont help me? Fine. To hell with you, then. I don't need help. I don't want help. That blood was mine. This pain is mine. And this kill is mine. You get none of it. I never wanted help, anyway. I just wanted someone to feel bad for me, maybe buy me a drink before I do it. Icicle walking up to The Corner Bar from issue #2 And still, the only one who stepped up at all was a cop. That's how I know I'm truly alone. A damn cop. The End. 4 panels Small shot of Icicle standing at the empty bar and sliding a wrinkled 20 dollar bill across it. These first three panels are small to make room for a large panel 4. Doesn't matter, I already have everything I need. Tight on Icicle downing a shot of a clear liquid. Twenty bucks for a few last drinks... Icicle at the dingy pay-phone at the end of the bar, dialing. A million tiny ice spikes... Large panel taking up the rest of the page. Icicle talking into to pay phone and staring murderously into the distance. ICICLE Stretch, it's me. Listen... ICICLE Shut up. I was thinking about what you said before. About that guy you know. And i think you were right. ICICLE Tell me where to find him. Caption And a friend who doesn't care enough to stop me.

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