8/6/2019 Rapid City #20

1/9

RAPID CITY #20

BY JOSH DAHL

JOSHDAHL@HOTMAIL.COM

Page 1 Perfect Day. 5 panels

Panel 1Tight shot on a small shopping basket. There areseveral heavy items in it already. A gallon of milk,cans of soup, peanut butter, etc. It is not quitefull, but it is getting there. We also see KINETIC'Shands on either side, holding the basket.

Panel 2 Pull back to see KINETIC (as BRIAN) and ANNE MARIEshopping in the tight aisles of a small urban grocerystore. She has the dairy case open and is holding ajug of orange juice. He is behind her holding thebasket.

Panel 3 She is pointing with her free hand at the limited

space in the basket and cocking her head as thoughasking a question. He is smiling and nodding.

Panel 4 Similar to panel 2, now the juice jug is beingsqueezed in among the other containers.

Panel 5 ANNE MARIE is smiling and touching BRIAN'S muscularright arm as he holds the heavy basket.

Page 2 Splash. 2 panels

Panel 1 Very small panel at the top of the page showing thepurchased items being put into plastic bags.

Panel 2 Taking up the rest of the page. BRIAN and ANNE MARIEwalk down the sidewalk outside the small grocerystore. The street is lined with small, brick,apartment houses. Each has entry steps and decorativemasonry. As they walk, BRIAN holds the bags and ANNEMARIE hangs on to his arm. It is early evening inearly spring. There are people out on the streetsenjoying the nice weather.

Caption credits

Page 3 Call to action. 6 panels

Panel 1 In their kitchen, BRIAN watches ANNE MARIE put awaythe groceries. He is leaning and content and she ishappily chatting as she stocks their fridge.

Panel 2 BRIAN holds up one finger like "hold on" and with hisother hand takes out his phone.

Panel 3 Shot of the screen of his phone. It reads "Incomingtext message from Switchboard".

8/6/2019 Rapid City #20

2/9

Shot of BRIAN reading the message, he looks serious.

Panel 5 Shot of a counter top next to the fridge with some ofthe groceries on it, along with other stuff formaking a dinner. ANNE MARIE'S hand is also in theshot, gesturing toward the dinner stuff.

Panel 6 ANNE MARIE in front of a counter full of things for

preparing a dinner. She has her hands on her hips andlooks impatient.

Page 4 Refusal. 6 panels

Panel 1 BRIAN holding up his phone and pointing at it. He isspeaking.

Panel 2 ANNE MARIE has turned back to the fridge. She isputting something that was on the counter into thefridge with one hand, and waving him away with theother.

Panel 3 Shot out the kitchen window of the sky growingduskier.

Panel 4 Close shot of BRIAN putting on his power gauntlets.

Panel 5 Shot of BRIAN, now as KINETIC, opening his bedroomwindow. The lights are not on in the bedroom.

Panel 6 Shot of ANNE MARIE in the bedroom door way. She ahand on a hip impatiently.

Page 5 Threshold. 6 panels

Panel 1 KINETIC already has a foot up on the window sill andstops to look back at her.

Panel 2 She puts her hand on his chin to make him look at herand they both look at each other seriously.

Panel 3 She kisses him.

Panel 4 Larger shot, she is stepping away and waving him off,with a smile this time.

Panel 5 From his point of view we see her rear-end as shewalks away.

Panel 6 From outside, looking at he window. KINETIC isgrinning as he leaps away.

Page 6 Land of the Unknown. 5 panels

Panel 1 Wide shot of KINETIC'S energy streak bouncing overthe city as the sun goes down.

Panel 2 Close up on metal house numbers nailed to a wornhouse exterior. 425.

8/6/2019 Rapid City #20

3/9

KINETIC on the roof of a house across the street from425, checking his phone. All of the homes that we cansee on this street are about 100 years old. They are2 or 3 story homes with bay windows and largeporches. They are built too close together fordrive-ways or significant yards. In recent years, theneighborhood has fallen to dis-repair.

Panel 4 KINETIC putting his phone away and eyeing the housewith suspicion and determination.

Panel 5 Shot large enough to show KINETIC bounding from wherehe was atop the house to the small yard space next to425.

Page 7 Trouble. 5 panels

Panel 1 A latino-looking family seated together on a couch. AMOTHER and FATHER in their sixties, one young adultDAUGHTER, a pre-teen BOY and a pre-teen GIRL. Theyare all huddled close together and looking straight

ahead, toward where we assume a TV would be. Theylook frightened.

Panel 2 We see what they are looking at. BAD GUY, a short,but wiry and muscular, man stands with his back tothem. He wears a sleeveless t-shirt and slightlysagging jeans. He has prison quality tattoos on hisarms and is holding a small aluminum baseball bat.

Panel 3 BAD GUY turns suddenly to yell at the family, hepoints the bat at them as he does. There is a veryslight glow, similar to Kinetic's, on the bat. It is

so slight that readers might not notice it.

Panel 4 Outside the house, KINETIC ducks to the side of awindow. Through the window we can see either BAD GUY,or the backs of the family on the couch, or both.

Panel 5 KINETIC streaking around the rear corner of the houseand toward the back door.

Page 8 Road of Trials. 6 panels

Panel 1 Back in the room with the hostages, BAD GUY with thebat looks up in sudden alarm.

Panel 2 The hostages all look up in slightly more hopefulalarm.

Panel 3 KINETIC stands in the doorway from the living room(where the hostages are) to the kitchen. Behind him,on the floor of the kitchen, we can see scatteredevidence that he smashed in the rear door. He ismaking a bold declaration.

Panel 4 BAD GUY moves aggressively toward Kinetic with the

8/6/2019 Rapid City #20

4/9

bat raised.

Panel 5 Large panel of BAD GUY swinging and KINETIC easilydeflecting the blow with an energy shield. BAD GUY isnot small, but KINETIC is larger than him.

Panel 6 KINETIC knocks BAD GUY across the room. Emphasis onthe stance he takes to do an "energy shove", and the

energy field projecting out to do the shoving.

Page 9 Powers. 6 panels

Panel 1 BAD GUY hitting the opposite wall pretty hard.

Panel 2 BAD GUY is getting to his feet. He is smiling cruellyand still holding the bat.

Panel 3 KINETIC in a stance ready to fight. His gauntlets areglowing slightly with his energy signature.

Panel 4 Close of the BAD GUY'S hands. They glow slightly with

a negative image version of KINETIC'S power. It isslightly "looser" than KINETIC'S, as he does not havethe gauntlets to help focus it.

Panel 5 Wider shot of the BAD GUY also in a fighting stance,now his version of the energy has spread to envelopthe bat. He is still grinning.

Panel 6 KINETIC is shocked by what he sees.

Page 10 Clash. 5 panels

Panel 1 Large shot of the two coming at each other with their

powers up. KINETIC'S gauntlets are at full glow,ready for another power shove. The BAD GUY is windingup his powered up bat.

Panel 2 Close on just the energy fields about to contact eachother.

Panel 3 Similar to panel two, the fields have made contactand the areas which are overlapping are fading awayto nothing.

Panel 4 Panel so tight we can barely tell what we are seeing.

This is the bat smacking into KINETIC'S gauntlets. Heis catching/blocking it.

Panel 5 Pull back to see the two men facing eachother. Theyare both gripping the bat. At the point where KINETICis holding the bat, both of their energy fields arealmost non-existant. Further up KINETIC'S gauntletsand arms, it grows in strength. Same with the otherman.

Page 11 Match up. 5 panels

8/6/2019 Rapid City #20

5/9

The BAD GUY pulls his bat free from KINETIC'S grip.

Panel 2 KINETIC swings a powered up punch and the BAD GUYblocks it with the bat. It has little effect.

Panel 3 BAD GUY swings a powered up bat at KINETIC, whoblocks with his gauntlets. Whenever the energy fieldsare in contact, they fade and have little effect.

Panel 4 Tight close up on KINETIC blocking another attack andthe bat slightly damaging one of his gauntlets.

Panel 5 KINETIC taking a step back and bumping into a smalldesk with a small rolling chair.

Page 12 Chairs to you! 5 panels

Panel 1 KINETIC throwing the chair at the BAD GUY'S head, andthe BAD GUY raising a defensive hand.

Panel 2 The BAD GUY turning with the impact of the chair,

inadvertantly exposing his back to KINETIC.

Panel 3 Big shot of KINETIC doing a big power shove to theBAD GUY. If it can fit in the shot, there is a windowbehind the BAD GUY.

Panel 4 Exterior shot of the BAD GUY flying out the window inan explosion of glass.

Panel 5 The hostage family looking scared still, but movingaway from the broken window.

Page 13 Rescue. 5 panels

Panel 1 KINETIC pointing and guiding the family toward theback door he busted in earlier.

Panel 2 The family and KINETIC move toward that back door,KINETIC is at the back, watching the broken windowcautiously.

Panel 3 The FATHER, who was right in front of KINETIC hasturned and stopped KINETIC by grabbing his shoulders.The FATHER is speaking with urgent worry. KINETIC issurprised.

Panel 4 FATHER, still frantic, is pointing back into the roomthey were just in.

Panel 5 From the FATHER's POV, looking down the "barrel" ofhis finger at a closed door in the room.

Page 14 Meeting with Mother Figure. 7 panels

Panel 1 View from inside the room that the FATHER wasindicating. The room is dark, but light is coming inas KINETIC is opening the door and reaching for the

8/6/2019 Rapid City #20

6/9

light switch.

Panel 2 In the light we see a very pregnant young WOMANkneeling in front of a radiator. With her left armshe is shielding her face from the light and fromwhoever opened the door.

Panel 3 Close on her face, shielded and shaded by her arm,

all we can really see is two eyes. One wide in fear,the other barely a squint.

Panel 4 She lowers her arm and we can see her face. One eyeis badly swollen, she has a split and bleeding lipand trails of dried blood from each nostril.

Panel 5 Small panel of KINETIC looking shocked and concerned.

Panel 6 KINETIC stepping toward her, gesturing "come withme". 5 and 6 can possibly be one panel.

Panel 7 Tight shot on the WOMAN, she is looking sad and

defeated. She is raising her right hand to show thatshe is hand-cuffed to the radiator.

Page 15 Rescue interrupted. 5 panels

Panel 1 Close on KINETIC touching and testing the cuffs. TheWOMAN'S wrist is red and scraped.

Panel 2 Shot of the broken-out window. The BAD GUY is juststarting to climb up through it, back in to thehouse.

Panel 3 The WOMAN speaking to KINETIC and touching her very

pregnant belly.

Panel 4 Still speaking to KINETIC, she points toward the opendoor.

Panel 5 The WOMAN is still pointing, but now she is actuallylooking where she is pointing and her eyes are widewith fear.

Page 16 Confrontation. 6 panels

Panel 1 The BAD GUY in the doorway, he is pointing at the

WOMAN (off panel) and yelling.

Panel 2 Close on the BAD GUY yelling and thumping his chest.

Panel 3 KINETIC standing as a barrier between the BAD GUY andthe WOMAN. His look is stern and his arms are spreadindicating "no further".

Panel 4 Close on the BAD GUY'S face. Perhaps he is speaking,or just looking angry and serious.

Panel 5 Similar panel, close on KINETIC looking serious and

8/6/2019 Rapid City #20

7/9

8/6/2019 Rapid City #20

8/9

The BAD GUY is swinging a wild punch at KINETIC'Sface. KINETIC is winding up his other fist.

Panel 4 Tighter shot of KINETIC delivering the punch to theBAD GUY'S face.

Panel 5 KINETIC punches him again.

Panel 6 KINETIC punches him yet again.

Page 20 Aftermath. 5 panels

Panel 1 KINETIC standing up off of the now unconscious BADGUY who is lying part way through the doorway.

Panel 2 Shot of KINETIC standing tense and ready for more,with his fists clenched.

Panel 3 Very similar shot, but now his shoulders and headrelax and sag, his fists unclench.

Panel 4Exterior shot of the front of the house as KINETICexits the front door. The family that had been heldhostage are waiting out there expectantly. A policecar is pulling up near them. The DAUGHTER is rushinginto the house past KINETIC. He is not responding tothem at all.

Panel 5 KINETIC walking on the sidewalk, he is looking at hishands and they are shaking.

Page 21 Re-crossing Threshold. 6 panels

Panel 1 KINETIC sitting on the fire escape outside his

bedroom window. ANNE MARIE is inside reading. Hismask and gauntlets are off. His head is bowed and hishands are on it.

Panel 2 ANNE MARIE looks up from her book, noticing somethingat the window.

Panel 3 She has the window open and is reaching out to him,he is not looking up.

Panel 4 She has him by the hand and is leading him into theirroom through the window.

Panel 5 She gently touches the cheek where he was punched andlightly kisses the other one. His eyes still lookserious, but he is giving her a smile.

Panel 6 Wider shot showing the room lit by one lamp, he isnow sitting on the edge of the bed. He is shirtlessand gingerly rubbing the shoulder that was hit by thebat. She is behind him and starting to rub his backand neck.

Page 22 Boon. 5 panels

8/6/2019 Rapid City #20

9/9

BRIAN and ANNE MARIE beside each other in bed. BRIANsits propped up on some pillows, he has the TV on.ANNE MARIE is turned toward him, alseep. His head isslumped, very close to sleep. Peacefully dark.

Panel 2 Close on BRIAN'S face as he slumps further intosleep.

Panel 3 Bright panel showing a close-up of one of KINETIC'Spunches from page 19.

Panel 4 BRIAN sitting bolt upright with his fists clenched.

Panel 5 Shot of the room. BRIAN is sitting up, tense, lookingdown at ANNE MARIE sleeping next to him.

Caption THE END