Rapid City #12

8/8/2019 Rapid City #12

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Heh. People who talk about people. Gossip mostly.

KINETICWhat are they saying?

Panel 4 Tighter shot on Coil looking more serious. Kinetic'sballoons come from off panel.

COILDoesn't matter. That's not why I'm here. Rememberlast time we talked, I told you there's a certainway that things work around here?

KINETICYeah.

COILWell, that's part of what people have been talkingabout. Where you're going to fit into that. I justwanted to give you a heads-up so you're not going

in blind.

KINETICInto what?

COILDoesn't really matter. Just know that the peoplearound here, their hearts are in the right place,but that doesn't always mean they are playingstraight. I don't think anyone's going to outrightlie to you, but remember that everyone is servingtheir own purpose first and foremost. Keep your

eyes open.

Panel 5 Shot from the side of the two men talking to eachother. They are relaxed and Coil is smiling.

KINETICEveryone?

COILPretty much.

KINETICSo why did you come out here to tell me this?

COILBecause it seems like you don't live at that oldaddress anymore and, yeah, because it serves my ownpurpose.

Panel 6 Close shot of Kinetic.

KINETICWhich is?

Page 3

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Words of Wisdom

Panel 1 Coil smiling dismissively.

COILNothing that concerns you right now. I will saythis, though....

Panel 2Pull back a bit to show both of them as Coil talks.Coil has a finger up like he is making a good point.

COILYou know that guy Andrew, right?

KINETICMRA? Sure, I've met him.

COILI don't know if he's the sharpest tool in the shed,but from what I've seen he's not the type who getsin over his head, and as far as he is able in hisposition, he's a straight shooter.

Panel 3 Similar to panel 2, but a different angle. Nowfocusing more on Kinetic who seems incredulous andconfused.

KINETICYeah?

COILFar as I can tell.

KINETICLook, I don't know what you're talking about atall.

Panel 4 Shot of Coil turning away from Kinetic to walk overtoward the edge of the roof.

COILDon't sweat it, then. If this stuff comes up later,you remember what I said. Ok?

Panel 5 Wide aerial shot showing the two men very small on

the roof. The scene below them is still peaceful, oneof the cop cars has left.

COILSo how's things otherwise? how's that little girlyou got?

KINETICGood. Real good. I wasn't at the old addressbecause we got a place together.

COIL

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That's great.

In Mexico

Panel 1 A volcano is erupting in Mexico. We see a mountainside with some lava flows burning through the forest.There is a lot of smoke, we can see some roads andvillages and stuff far off.

Caption Pinacate, Mexico. 4 Days ago

Panel 2 Closer on one of the flows. Lava is running through arut which seems to have been dug or blasted for it.There is a large truck sinking in to the flow. thereis a young Latina woman on top of the truck. She iswearing smudged "relief worker" fatigues and has abandanna tied around her face. She has a heavylooking side-bag on.

MIRA VEGAAyudame! Por favor, Ayudame!

Panel 3 Low angle shot looking up past the woman as asuperhero lands on the truck beside her. He isjumping, not flying, so his landing is hard andrequires that he grab on to the truck as well. He isthickly built and covered in a yellowy glowing forcefield.

EL ESCUDONo tengas miedo. Ahora estás a salvo.

MIRA VEGA

Gracias.

Panel 4 He has her sitting on his shoulder and he is slidingdown into the flow. The lava ripples around his forcefield. She is pulling a small scanner from her bag,and holding on to him with the other one.

EL ESCUDOEs poco profunda aquí. Te puedo llevar a laseguridad sin ningún problema.

MIRA VEGA

Bueno.

Panel 5 A shot looking down past the woman on his shoulder.Her scanner is shining a beam on the back of hisneck. He is pointing to the edge of the flow, wherethey are headed, at the scrape marks which caused theflow.

EL ESCUDOMira! Alguien excavó este camino de la lavaintencionalmente! Por que?

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MIRA VEGASaid the turtle to the scorpion.

Panel 6 Close up on the scanner in her hand. She is tapping abutton which says "cancel"

The extraction

Panel 1 Shot looking up from the level of the lava, which isonly about knee deep, at the hero. His field isfading. It is not completely gone, but we can seejust a regular guy underneath. He is looking down inhorror. She is casually touching her ear piece.

EL ESCUDOOh no! No. Tenemos que darnos prisa.

MIRA VEGAIt worked. I need immediate evac.

Panel 2 Flames begin to consume the hero's legs as the last

bits of his shield flicker out. The woman is reachingup to man who is jetting out of a smoke cloud with aspeed helmet and fight gear on.

EL ESCUDONo! AHHHHH!

Panel 3 The flier and the woman woman blasting into theforeground while the superhero becomes a burningsmolder behind them. Her collar is blowing open andwe can see that she is clearly wearing some sort ofsuper-style speed/impact suit. She is again touching

her ear piece.

MIRA VEGAYes. Exactly like I said it would, so do whatyou've got to do to move ahead. Ok. We'll see youin Rapid City.

Page 6 Talks With Andrew

Panel 1 Wide shot of a kinda crowded Olive Garden stylerestaurant. Somewhere in the image, Kinetic (asBrian) is having lunch with his MRA contact, Andrew.

The word balloons in this panel do not have tags.They are just floating above the diners.

Caption Rapid City, 3 days ago.

KINETICOk, go on.

ANDREWSooner or later someone named Switchboard is goingto contact you. Do you know who that is?

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KINETICSo what do you want me to do?

ANDREWNothing. Just keep your eyes open. Pay attention.

KINETICYou must have other people you are in contact with

who know her better than I do. How can I, Kinetic,the new kid on the block, be the best suited forthis?

Panel 5 Close shot of Andrew.

ANDREWWell, that's just it. If she is up to something,then anyone else might already be in too deep.

KINETICSo you don't trust her.

ANDREWThat's not it. I don't know enough to trust ormistrust her. That's why I need your help. So, justkeep your eyes open, ok?

Panel 6 Close shot of Kinetic.

KINETICI'll keep my eyes open.

Laying low

Panel 1 Shot looking over a man's shoulder, out a secondstory window, down at a "Rapid City Real Estate" signstaked into the yard. The man is having a video chaton something like an i-phone. We can't see too muchof him in this shot.

Caption Rapid City. 2 days ago.

CRUXThe whole point is just to demonstrate that theplan works.

PHONEHow?

Panel 2 A better shot of Crux and the room that he is in. Theroom is clean and empty, likely a bedroom in asuburban home. Crux is staying very close to the wallas he walks. He is young and powerfully built. Thereis a hint of a vampire motif in his appearance. Thereis also a bit of heavy-metal. He has several layersand accessories.

CRUX

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If you want the plan, you pay for it. For now, justwatch and see that it works. Then, if you're smart,you come on board and we make it work for you.

PHONEWhat about the Big Boys? They don't care that youare setting up your own thing?

CRUXThey don't care, this is all small time to them.

Panel 3 Crux in a darkened hallway, also empty. Some lightcomes in from open doors, but the main source oflight is the phone he is using.

PHONENot King Shard.

CRUXYou've had your problems with him before, right?

He's out of the loop. By the time he notices this,it'll too late for him to stop it and he'll justhave to deal with it.

PHONEThat's what I'm afraid of.

CRUXLet me handle that. Look, I just got confirmationthat all the pieces are in place. We should bemoving in less than a day. Are you in?

Panel 4 Crux in a dark and empty kitchen, he is opening adoor to basement stairs.

PHONEFor the demonstration?

CRUXYes, just the demonstration. For now.

PHONEOk, let me know when it'll be on.

Panel 5 Shot from the far wall of an unfinished basement.

There are just a few small spots of light. The roomis full of villains. On the wall furthest from us isthe staircase with Crux. The villains are: Mira Vegaand Super-sabre from the first scene, now Mira is inher full impact suit. Arachnoid, a guy with metalinsect limbs. Flashpoint, a woman who seems to havesome kind of flame powers. Lizard-Man, who is inhuman form and only showing hints of lizard features.Calculus. Mimic. A mean-looking infant floatingseveral feet above the floor.

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CRUXIt won't be long now.

Page 8 Invite from Switchboard

Panel 1 Big panel of the aftermath of a super thing. In thebackground there is a large (2-3 story) glowingstructure, maybe made of energy, blocking a street.

Monkey is back near the structure talking to somepolice and some bystanders. Battery is near him doingsome kind of energy thing to the glowing structure.Closer to the foreground, Kinetic and Sidekick aresmiling and talking. Flamethrower is walking up tothem.

Caption Yesterday

SIDEKICKDude, I thought you knew.

KINETICWhat? No, I was just doing what that other guy wasdoing. What's his name?

SIDEKICKBattery? Yeah, do what he's doing. Good strategy.Me? I just find something that looks dangerous andrun towards it.

KINETICOk, well, the rest of us aren't invulnerable.

FLAMETHROWER

Hey, guys.

FLAMETHROWERHoney, can I talk to Kinetic for a minute?

Panel 2 Closer on Flamethrower and Kinetic stepping aside.

KINETICWhat's up?

FLAMETHROWERNothing big. A friend of mine wants to talk to you.

KINETICWho?

FLAMETHROWERHave you heard of Switchboard?

KINETICYeah.

Panel 3 Flamethrower taking a small device about the size ofa cell phone from a pocket on her costume.

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FLAMETHROWEROk, good. She can explain all of this a lot betterthan I can.

Panel 4 Close on their hands as she gives him the device.

FLAMETHROWERThis has GPS. She's already entered into it, so

just hit "GO" and it will lead you to her bunker.

KINETICShould I....

Panel 5 Flamethrower already turning to walk toward Sidekick.

FLAMETHROWERIt's not a big deal, just go talk to her.

Panel 6 Panel of Kinetic standing there looking down at thedevice.

KINETICSwitchboard

Page 9 Travel

Panel 1 Close shot on the compact device in Kinetic's hand.His gloved finger is pressing the GO button and thescreen shows a map with a big red arrow on it.

Panel 2 Wide shot of Kinetic following the arrow and bouncingup the street away from where everyone else isgathered.

Panel 3 Kinetic moving along a street of medium sizedbuildings. Inset there is the screen showing a redarrow turning 90 degrees to the left.

Panel 4 Kinetic blasting past yards of trucks like adistribution center. Lots of fences and concrete,like near an airport. The inset arrow is shown takingthe right branch of a fork in the road ahead.

Panel 5 Shot from behind Kinetic, we can see what he isseeing. A wide expanse of industrial parks. In thecenter is a 3 story building with a tall radio

broadcasting tower. Inset is the same arrow image,but now instead of ending in an arrowhead, the lineends in a red dot.

Panel 6 As large a shot as possible of Kinetic standing infront of this lonely, desolate, building. It is afunctioning radio station, but that means there areabout 3 people working there at its busiest. Thereare weeds growing up through cracks in the parkinglot because there is not enough traffic to keep themdown. There is a tall fence around a large area to

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the right of the building, it also wraps around theback. Kinetic looks small looking up at the buildingand the broadcasting tower. Behind the building thereare trees. The trees run along the bank of a riverthat we cannot see at all.

Page 10 Switchboard

Panel 1 Fairly small panel showing Kientic walking toward theleft side of the building. He is going around back onthe side with no fence.

Panel 2 Toward the rear, the ground slopes down a lot so thatthe basement door opens up at ground level in therear. We see kinetic coming around the corner todiscover a featureless steel door opening on a ten byten flat of concrete which seems to be used for smokebreaks. Around this flat is dry dirt and unkempttufts of grass. There is nothing here.

Panel 3 Tight shot of Kinetic's face as he looks suspiciously

to his left, away from the building and toward thetrees. All we can really see is his face.

Panel 4 Now we see the trees that he is looking at. A bigshot of some scrubby, but tall, trees. At the farright, bottom of the panel, there is a wordballoon.

SWITCHBOARDYou're Kinetic?

Panel 5 As big as the page will allow. The steel door is nowopen and switchboard is stepping out of it. She is

keeping one hand and foot in the door, and extendingher other hand in greeting. http://monolithllc.com/rapidcity/handbook/characters/switchboard/

SWITCHBOARDGood to meet you, I'm Switchboard.

Why do you do it?

Panel 1 Inside the door, they are in a dimly lit hallway.Switchboard is looking back at him as she talks andleads him.

SWITCHBOARDI'm glad you came. Tell me what you've heard. Whatare they sayin' about me?

KINETICI've heard your name, not much more than that. Ifigured you handled communication or something.Like a switchboard.

Panel 2 Shot from inside the "lounge" room. We are looking atthe door to the hall as Switchboard leads Kinetic in

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through it. Seeing them together, he is much largerthan her. This the station's old music room. It isfull of shelves full of records, and a few racks ofCDs. What walls can be seen are covered with punkposters. One section has been made into a "lounge"there are a few chairs, a throw rug, a coffee table,an end table, and a lamp.

SWITCHBOARDThat's part of it. Come on this way. You wantanything? Water?

KINETICNo, I'm ok.

SWITCHBOARDHave a seat, make yourself comfortable.

Panel 3 Shot of Switchboard settling in to one of the officechairs that is near the coffee table.

SWITCHBOARDI know a little bit about you already. I've beenasking around and people have been saying somepretty nice stuff. You know Glyph?

Panel 4 Shot of Kinetic sitting in the other chair. He iscringing a bit like there is bad news coming.

KINETICOh. Yeah, I do.

SWITCHBOARDWhat?

KINETICWe....He doesn't like me very much.

Panel 5 Shot showing both of them facing each other

SWITCHBOARDReally? No. He had only nice things to say aboutyou. He's a good friend of mine and I generallytake his word. So, tell me the stuff I don't know.Why are you doing this? Why are you Kinetic?

KINETICI'm....

SWITCHBOARDYou want me to go first? Ok.

Panel 6 Close shot of Switchboard looking straight at thecamera. She looks serious.

SWITCHBOARD

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My name is Switchboard. I grew up around all ofthis superhero stuff my whole life.

Page 12 Behind the switch

Panel 1 A wide shot focusing mostly on Switchboard, but wideenough to include Kinetic off to the right.Switchboard is sitting in her chair, leaning forward,

and talking. Leaning against the wall beside her is aheavy iron bar about 2 1/2 feet long. Kinetic islistening intently.

SWITCHBOARDAll of that "cape and glory" shit, I never sawthat. I saw my dad's friends with their masks offmaking racist jokes and talking about what villainsthey would do. So I never had that "ideal", youknow? I remember I was shocked when I figured outthat other people actually looked up to these guys.They meant it when they called them "heroes". I was

so disappointed.

SWITCHBOARDYou know, it was the first time I realized thatmost people are pretty stupid. That's a hard thingfor a twelve year old to deal with. I was a prettymoody teenager.

Panel 2 Closer shot of just Switchboard as she settles backinto a more relaxed posture.

SWITCHBOARDAt some point, though, all that negativity justeats at you. I started really looking at it. Ididn't hate these superheroes. Hating is one thing,but that wasn't it. I was frustrated anddisappointed. You can only be disappointed withsomething if you expected it to be better. A goodfriend opened my eyes to that.

Panel 3 Close shot of Kinetic listening.

SWITCHBOARDSo what do you do with something that is not asgood as you know it can be? You make it better. So

that's what I do.

Panel 4 Wider shot showing both of them. Switchboard ispointing at Kinetic.

SWITCHBOARDI can't stop you guys from being misguided jerks ifthat's what you're going to be. But if you're doingthe right thing, then I can help you do it better.

KINETIC

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How?

Panel 5 Close shot of Switchboard pointing straight at thecamera like it was Kinetic.

SWITCHBOARDNot so fast, buckaroo. It's your turn. Why do youdo it?

Page 13 Why?

Panel 1 Shot of Kinetic crunching up his face in thought.

KINETICWell....I guess there's not much to it.

Panel 2 Another wide shot showing both of them. Kinetic isgesturing as he talks.

KINETICI just feel like I should do something. Ever since

I realized that I could do this, I've felt like Ishould. I can't just sit there and not do anything.I've done that, and it always feels awful. LatelyI've just been trying to figure out how to do itright.

Panel 3 Shot of Switchboard scrutinizing him.

Panel 4 Very similar shot.

SWITCHBOARDThat's it?

Panel 5 Tight shot of Kinetic answering her.

KINETICPretty much. Yeah.

Panel 6 Shot of Switchboard standing up and grabbing her ironbar.

SWITCHBOARDOk.

Panel 7 Shot of Switchboard walking past Kinetic out the door

they came in, she is gesturing that he should followher.

SWITCHBOARDWell, maybe I can help you with that. Let me showyou what this is all about.

In the bunker

Panel 1 Switchboard's bunker is a small room in the basementof the radio station. There is one door with threesteps leading down to the room's floor. There are

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basement style windows sets high on one wall, theyhave been papered over and let in only a littlelight. There are racks of electronics and computerequipment on two of the walls. In the middle of theroom is a large office-style chair. The rest of thestuff seems cobbled together, but the chair istop-of-the line. In front of it there is an "L"shaped table that is thinner and smaller than a desk.

It has a phone and some other small electronicequipment on it. A small monitor, some pens, wires inbundles running off to the walls of tech stuff. Onthe seat of the chair is her clear face mask whichhas several wires attached to the upper edges. Thesewires run off to the L. In front of the chair is alarge array of flat screen monitors of various sizes.Some are showing scrolling information. Some areshowing different parts of the city. Some showsecurity camera footage. Some are blank. This is abig shot looking from on the floor near one of thewalls of tech, looking past her chair at Switchboard

leading Kinetic through the door. She is stepping offthe bottom step and he is just coming through thedoor. She is carrying her iron bar.

SWITCHBOARDOk, well, this is it. This is the bunker.

Panel 2 Switchboard has walked over to where the monitor'sare, she is pointing back over to her chair.

SWITCHBOARDThis is where I keep an eye on what's going on in

and around Rapid City. When something comes up...like that thing you were just at...

Panel 3 Shot of random stuff going on on her screens. Someother heroes just standing around on one of them.

SWITCHBOARDI first saw that on some internal security cameras.So I put the call out and Battery and Flamethrowerwere on the spot long before the cops got there.

Panel 4 Both of them in the shot talking.

KINETICHow do you see what's on the security cameras?

SWITCHBOARDThat's just part of what I do. I don't sit therespying on people, but when there's trouble, I knowabout it.

SWITCHBOARDIt's a little more involved than that on my end,but that's the gist if it.

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KINETICHow do you decide who to send in?

Panel 5 Switchboard picking up her mask from the chair.

SWITCHBOARDI don't. I just put out the call and whoever's nearby, or feels up to the task, answers it. In some

cases, if I know someone who's just right for thejob, I'll put a special call in to that person.

Panel 6 Kinetic standing in front of all of the monitors,looking at all of the parts of the city that theyreveal.

KINETICBut not the cops?

Page 15 No cops?

Panel 1 Switchboard holding the mask, about to put it on, but

stopping to answer the surprising question.

SWITCHBOARDWhat? No. There's a number for that. 911. Andeveryone else already has it. I don't call the copsbecause I don't have to. They get called. Trust me.

Panel 2 Shot taking up most of the page, Switchboard isstanding in front of her chair and putting on themask. We really see how much stuff she has downthere. She has something from almost any kind ofcommunication you can think of.

SWITCHBOARDAnd, yeah, when I come across something that's uptheir alley I let them know about it. Same goes forthe fire department and dog catchers. I don't haveanything against them, but they've got their ownsystems. They don't need me.

Panel 3 Switchboard settling into her big chair and pullingon her work gloves. Kinetic is watching her.

KINETIC

You're saying that the superhero community doesneed you?

Panel 4 Close on her face looking up at Kinetic to answerhim. With the shield on, nearly half of her face isobscured by the reflections of lights and monitors.The half that we can see is smiling cockily.

SWITCHBOARDYou tell me? How are you doing out there on yourown?

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Talk with Annemarie about it

Panel 1 This shot is in the bedroom of the apartment thatKinetic and Annemarie share. We have not seen thisplace before, so only reference earlier issues forfurniture that they would have brought with them. Itis a fairly modern, yet modest, apartment with bare,just-moved-in decor. There is a clash of his stuff

and her stuff. Panel 1 shows her folding a shirt andlooking off panel at Kinetic

ANNEMARIESomething wrong?

Panel 2 A larger panel showing a lot more of the room. Thereis laundry spilled all over the low Ikea bed.Kinetic, in his street clothes is standing by and nothelping.

Caption Today

KINETICYeah. I'm not sure what to do.

ANNEMARIEStart putting away towels.

KINETICYeah, ok. But that's not what I mean.

Panel 3 Shot from behind the laundry pile looking up atKinetic as he grabs a shirt off of it. Annemarie isin the shot as well, she is putting the folded item

onto a pile.

ANNEMARIEWhat is it?

KINETICThis stuff with Switchboard, there's somethingwrong. Andrew made it seem like she had some secretagenda, but when I talked to her yesterday sheseemed completely on the level. I don't know who totrust.

Panel 4 Similar to panel 3, but Annemarie has turned awayfrom the folded pile and is facing Kinetic. He isholding a folded item.

ANNEMARIEYes you do.

KINETICHuh?

ANNEMARIEYou. Don't think about the facts or what you should

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be thinking. Just answer from your gut. Who do youtrust?

KINETICWell, it's Andrew's job to know...

Panel 5 Tighter shot on mostly their heads as they talk

ANNEMARIENo. Don't justify it. Just answer. Who do youtrust?

KINETICI guess.... Switchboard. I trust Switchboard.

Panel 6 Shot of Annemarie smiling smugly and reaching foranother laundry item.

ANNEMARIEThere you go.

Page 17 What to do

Panel 1 Shot of the two of them folding laundry. Annemarieseems content, but Kinetic is thinking somethingover.

Panel 2 Closer shot on Kinetic, he is holding some pants, butnot folding them.

KINETICAndrew works for the government, and he's asking mefor information? There's just something up with

that.

Panel 3 Wider shot, similar to panel 1, Kinetic is puttingthe unfolded pants back on the dwindling pile.

KINETICI'm sorry, I have to go tell Switchboard thatsomething's up. Even if it turns out to be nothing.

ANNEMARIEShe didn't give you a 2-way wrist watch oranything?

Panel 4 Kinetic walking over to his Kinetic gear which isslumped over and on a chair.

KINETICNo. I wasn't sure what to do because of this wholeAndrew thing, so I never gave her an answer.

KINETICDamn it.

Panel 5 Shot from behind Annemarie, Kinetic has one of his

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gauntlets in his hand, but he is turning back to talkto Annemarie.

ANNEMARIEWhat is it?

KINETIC"Wasn't sure what to do". You know, I thought I was

done with that.

Panel 6 Shot of just Kinetic's face. He is looking serious.

KINETICI gotta go.

Page 18 Back at the bunker

Panel 1 Similar to panel 1 on page 14, but much tighter sothat you can just see Switchboard entering andsomeone behind her. It is night now, so the room ismuch darker. She is lit by the glow of her equipment,

but her guest is in shadow.

SWITCHBOARDOk, now what is this about?

Panel 2 Now we see the figure behind her, it is not Kinetic,it is Coil. He is looking especially large next toSwitchboard. She is turning around to talk to him andhe is holding up one hand like "stop" and pressingthe index finger of his other hand to his lips like"shhhhh"

Panel 3 Tight shot of Coil grabbing Switchboard by theshoulders and pulling her close so that he canwhisper in her ear. She is flinching away insurprise.

COIL(whispers)

The place might be bugged. You can use your powers,though. Make sure there are no signals going out.

Panel 4 Shot of Switchboard stepping away from him. She isholding the bar out in front of her and looking

around at her equipment.

SWITCHBOARDNo....

SWITCHBOARDNo, there's no signal leaving this room.

COILAre you sure.

SWITCHBOARD

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Absolutely. Now what's this? You think that Kineticis spying on me?

Panel 5 Close shot of Coil talking. Switchboard's balloonscoming from off panel.

COILI'm surprised you invited him in at all. I thought

it was common knowledge that he was working for theMRA.

SWITCHBOARDI didn't get that from him at all. But so what, soare half the heroes in Rapid City?

COILYou sure there's no signal at all going out?

Panel 6 Close shot of Switchboard looking suspicious.

SWITCHBOARDYeah. Why? Do you really think he'd put a bug inhere?

Page 19 The reveal

Panel 1 Shot of Coil punching Switchboard in the face. She isbeing rocked back and losing her grip on the ironbar.

COILNo.

Panel 2 Switchboard has fallen backwards into her chair. Sheis not struggling, just crumpling. Behind her, we seeCoil reaching toward her with his right hand. Thewires that are wrapped around his right arm and handare uncoiling toward Switchboard.

COILBut you never know who you can trust.

Panel 3 Low shot of Switchboard on the ground with Coilstanding over her, she is being tied up by his wires.He is smiling in the monitor glow.

Panel 4 A small black panel.

Panel 5 A shot of the back door to Switchboard's bunker. Itis dark outside, but the light is on above the doorand there are some bugs swarming around it.

Panel 6 Similar to panel 5, but the door is open and Coil isstepping out. His right arm and hand are bare. He isyelling.

COIL

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Hey.

COILIt's cool.

Page 20 Villains

Panel 1 A shot of the woods that Coil is looking into. Theground is dry and dusty and the trees are small andscrubby. Behind them are larger trees. Everythingpast the dusty patch of ground is heavily shadowed.

Panel 2 Similar to panel 1, but now there is some movement inthe trees. Hovering at about chest level is whatseems to be an angry looking infant. Behind him thereis a figure emerging who is all in shadow except forhis long, metal, insect limbs. Below them, and off tothe side, Lizard Man is creeping into the light. Ifpossible it can now be seen that he was actuallythere in panel 1, just too well hidden. We can alsosee a partial Crux emerging.

Panel 3 Similar layout again, but now it is clear that all ofthe villains from the basement scene are emergingfrom the woods. No need for an accurate head count,so long as it seems as though most or all of them arepresent. Crux has moved to the foreground.

CRUXNice work, Coil. I wasn't sure this would work.

Panel 4 Shot of Coil and Crux standing face to face. Calculusis right beside Crux, he has a small camera in his

hand and he is shooting.

COILIt hasn't worked yet, Crux. Don't get ahead ofyourself.

CRUXTrue. Ok, show us the control center.

Panel 5 Coil leading Crux back through the open door. He isfollowed by Calculus and Maria Vega.

CRUXMaria, Calculus, you're with me. The rest of youjust sit tight while we sort things out inside.

Panel 6 Shot of SuperSabre, Flashpoint, Arachnoid, LizardMan,and Heartattack all standing around in the small arealit up by the bulb above the door. Lizard Man iscatching a moth with his tongue.

FLASHPOINTSurprise. More waiting.

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ARACHNOIDNot waiting, setting the trap.

Page 21 Springing the trap

Panel 1 Small shot, close on Kinetic's face. He is contentand exhilarated to be zipping through the night air.

Panel 2 Arial shot, high enough that we can see the entireradio building behind which the villains are hiding.We can also see Kinetic's energy streak coming upover the top of the building.

Panel 3 Kinetic coming to rest a few feet from the clump ofbad guys. We can see some of them, but they are notthe main focus of the shot. Kinetic, however, islooking right at them.

KINETICOh!

Panel 4 Shot of all of the bad guys turning their heads tolook at him. Kinetic's word balloons coming from offpanel.

KINETICI didn't expect anyone to be here this late.

KINETICI'm here to see Switchboard.

HEARTATTACKErrrr.

Panel 5 Shot from behind Kinetic, seeing mostly what he sees.Arachnoid is sizing him up while Flashpoint isopening the door and shouting in. Crux's ballooncomes from inside the building.

FLASHPOINTThis guy out here wants to see Switchboard.

CRUXWe're not ready yet.

CRUXKill him.

Panel 6 Close shot of Kinetic's reaction. He looks moreconfused than frightened.

Panel 7 Close shot of Arachnoid grinning behind raised,sharp, insect limbs. If there is room, the other badguys behind him are making similarly menacingexpressions.

Oh no.

8/8/2019 Rapid City #12


Full page shot. The bad guys are spreading out toattack Kinetic. Lizard Man is going low. Arachnoid isstanding up high on his rear limbs and spreading outhis front limbs. Super Sabre is going high and wideto loop around Kinetic. Flashpoint moving straightforward with flaming hands. Heartattack is stayingput. We are looking from behind the bad guys down atKinetic who seems pretty well surrounded from this

vantage point. His gauntlets are powering up and heis looking up at his attackers.

Caption to be continued.

KINETICOh no.

Rapid City #12

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Transcript of Rapid City #12