rapid city #28

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RAPID CITY #28

BY JOSH DAHL

[email protected]

Page 1 A Re-cap. 5 panels

Panel 1 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.

Panel 2 HARTBORN is stepping out of the elevator into hishotel 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.

Panel 3 COIL sitting in a VIP room with CRIMSON GHOST andsome classy hos.

Panel 4 The VIP room from another angle. Here we see HECTORcautiously surveying everything.

Panel 5 A police mag-light clattering onto pavement with

broken glass falling around it.

Page 2 Splash. 1 panel

Panel 1 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.

Page 3 I fought the law. 4 panels

Panel 1 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 hispistol. 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

d City #28 by Josh Dahl joshdahl75@g

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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.

Panel 4 Nearly the identical pose, but now seen from insidethe patrol car. The dash-mounted camera is thecentral 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 And the law won. 6 panels

Panel 1 Icicle smashing the front windshield, and camera, of

the police cruiser with a large ice-fist.

Panel 2 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.

Panel 3 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.

Panel 5 Small panel, possibly inset, of Icicle's handslipping the cops wallet from his pocket.

Panel 6Icicle 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.

Page 5 On the run again. 5 panels

Panel 1 Now behind the grocery store, Icicle is tearing

through a chain-link fence leading to blackened

underbrush.

Panel 2


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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 Close on Icicle looking back up toward the cops. Sheis angry and desperate.

Panel 4 A cop from one of the newly arrived patrol carsstanding at the hole in the fence and shining aflashlight down in to the brush.

Panel 5 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 Hartborn and the cops. 6 panels

Panel 1 A wide establishing shot back at the parking lot. Wecan 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.

Panel 2 Andrew and Hartborn meeting between their respectivecars.

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 thesmashed 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 thecops 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 wassimulating 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 onthe 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 CSI:RC. 5 panels

Panel 1 Hartborn looking through the passenger-side frontwindow 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 noticedit 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 2

That's right. So, hey listen, we're all for

"inter-agency cooperation" and all that, but you

gotta give us 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 withthem.

COP 2

Right through that fence.

Page 8 Fence hole. 5 panels

Panel 1 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 ballingideas. 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 thefence.

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 Her night. 5 panels

Panel 1 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.

Caption The cold never bothers me. But hunger does.

Exhaustion does.

Caption Cars just pass me by.

Panel 2 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 thatshe took. The way it is flopped open, we can see the

cop's badge.

Caption Twenty six bucks. That's it.

Panel 3 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.

Panel 4 Still crouching, she is pulling Piledriver's leather

jacket out of her gym bag.

Panel 5 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.

Caption How long can I be this alone?

Page 10 Hartborn on the case. 8 panels

Panel 1 From inside Andrew's car. He is driving, and Hartbornis 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'sdialog 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 behindthe 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 4Hartborn 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 ahungry 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 isonce again in balloons. Hartborn stands at the end ofthe 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 Hartborn gets some coffee. 6 panels

Panel 1 Icicle looking down at her coffee, not looking up atHartborn 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 beinterested.

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 herorder. Icicle is nervous.

ICICLE

I'll have the same.

Page 12 Order up. 6 panels

Panel 1 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 backthoughtfully.

HARTBORN

Ok. Alright.

Panel 4 Hartborn resting his mug on the table again andlooking very serious.

HARTBORN

The reason I'm sitting down here with you, insteadof 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.

Page 13 Two and Two. 5 panels

Panel 1 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.


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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 eyebrowsslightly, 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 Hold on. 5 panels

Panel 1 Icicle walking over to the counter. Hartborn iswatching 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 thanher.

WAITRESS

Ma'am?

WAITRESS

Ma'am, your eggs are ready.

Page 15 Back to work. 6 panels

Panel 1 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.

Panel 3 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 Hector looking at Coil. He is slightly amused.

Page 16 Reports. 6 panels

Panel 1 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.

COILBut?

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 withCoil.

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 Wheelin and dealin. 5 panels

Panel 1 At a new car dealership, a young man who we recognizeas 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 Stretcher turns to face Icicle. He is surprised and

annoyed and is pulling the ear buds out.

Caption Fake ones at first...

ICICLE

I have to talk to you.

STRETCHER

No. Ma'am, I just wipe 'em down. You want to talkto a salesman in the show room.

ICICLE

(quietly)

No, Stretcher, I need to talk to you.

Panel 3 Close on Stretcher looking serious.

Caption 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 The two of them talking. Icicle now looks serious.

Caption 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 theright, Icicle and Stretcher are stepping off of

dealership grounds and onto the sidewalk. He is

lighting a cigarette.

Caption Drop a wad of cash in front of some goon...

STRETCHER

Now, what's so damn important?

Page 18 Icicle and Stretcher. 6 panels


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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?

STRETCHERSounds familiar. Why?

ICICLE

Coil killed Piledriver.

Panel 2 Stretcher looking shocked by this news. Icicle

looking icy.

Caption 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 Stretcher looking shocked again.

Caption 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 Coil is the game. 5 panels

Panel 1 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 theshoulders 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 firsttime 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 Inset into panel 2, a small shot of Icicle looking

serious and worried.

Panel 4 Stretcher now looking serious and intense, talkingclose 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 Betrayed. 3 panels

Panel 1 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. Coilis 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 Live or die. 5 panels

Panel 1 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.

Caption So that's the plan. Just wait for the right timeto strike. Get The Syndicate on my side. Gather

strength. And then take him down the right way.

Panel 2 Close on her face and her eyes staring hatred intothe distance.

Caption Coil goes on drawing breath and Piledriver doesn'teven get a funeral.

Panel 3 Wider shot, the other people are all looking up

expectantly as the bus approaches, but Icicle is

looking away.

Caption No. Screw him. He doesn't get to have any moredays. 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 He doesn't get to have any of the things that he

took from me.

Panel 4 Large shot of Icicle stalking away as the bus pullsoff down the street behind her.

Caption 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.

Caption I never wanted help, anyway. I just wanted someoneto feel bad for me, maybe buy me a drink before I

do it.

Panel 5 Icicle walking up to The Corner Bar from issue #2

Caption 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.

Page 22 The End. 4 panels

Panel 1 Small shot of Icicle standing at the empty bar andsliding a wrinkled 20 dollar bill across it. These

first three panels are small to make room for a large

panel 4.

Caption Doesn't matter, I already have everything I need.

Panel 2 Tight on Icicle downing a shot of a clear liquid.

Caption Twenty bucks for a few last drinks...

Panel 3 Icicle at the dingy pay-phone at the end of the bar,dialing.

Caption A million tiny ice spikes...

Panel 4 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.


8/3/2019 Rapid City #28

20/20

CONTINUED

rapid city #28

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