rapid city #6

8/14/2019 Rapid City #6

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Night shift

Panel 1 Exterior establishing shot of the large industrialbuilding in which Justin has his lab. Night time,essentially deserted, just a few lights on here andthere. There are lights in the parking lot and aragged chain link fence.

Panel 2Shot as though looking out from a computer monitor.Justin and Hourglass (still in her mask) are lookingstraight at the monitor, but they are mostly justframing the shot which is of Kinetic sitting on arolling desk chair in the background with his armsfolded across his chest. His head is leaning a bitforward like he is about to fall asleep. The sign onthe wall behind him reads "WARNING: EXTREME DANGER"

KINETICGuys.... Justin? Hourglass?

Panel 3 Shot has moved to the side so we can see all three ofthem. Kinetic, Justin, and Hourglass. Justin andHourglass are turning to listen to Kinetic who isstanding and stretching his back. Hourglass isirritated.

KINETICIt's getting pretty late. I have to work tomorrow.So....I think I might need to head out.

HOURGLASSWhat time is it? There's no windows in here.

JUSTINAfter 2.

Panel 4 Hourglass reaching her hands up toward her face, sheis getting upset and frustrated

HOURGLASS2? It's after 2? We don't know anything! Whatprogress have we made? None. Nothing. This wholeday is wasted. We're at the exact same point wherewe started.

Panel 5 Now she is gesturing angrily toward the door. Kineticis a bit stunned by the outburst and tries to becalming, raising his hands in a non-threateninggesture.

HOURGLASSWe have done nothing. Meanwhile, that killer isout there doing...doing.....he could be here,right outside.

KINETIC

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Why would the killer be here? He doesn't even knowyou're looking for him, right?

Panel 6 Now she is calming down, but she seems depressed,defeated. Kinetic is trying to be comforting. Justinis just gawking, he is not accustomed to emotionaloutbursts.

HOURGLASSHe's out there somewhere. We don't know where heis. All we know is that he'll kill. Nothing morethan we started with. He's been making progress,but we've made none.

KINETICOk, ok. Calm down.

Panel 7 She snaps a bitter retort at him. She is lookingangry and he is looking frustrated

HOURGLASSI thought you said you were leaving.

Panel 8 Shot of just her. Her expression has changed to sadand worried. Abandoned.

Panel 9 Similar to panel 6, Kinetic is touching his forehead,already regretting the decision. Hourglass ispresenting a weak smile.

KINETICI can stay for a little while longer.

HOURGLASSGood.

I need to find this guy.

Max goes looking for Hourglass

Panel 1 Shot of a row of multi-family homes. The kind thathave been converted into smaller apartments. It isnight, the street lights are on, but all of thehouses are dark and there is a dark figure on thestreet.

Panel 2 Smaller, tighter shot of that same street, focus on alone dark figure walking up the side walk. Though wecan't make out any details, this is Maxwell Murder.

Panel 3 Very tight shot of his hand holding the trackingdevice from the previous issues. The screen is litup. It reads "CURRENT ADDRESS: 272 Beech. Rapid City"The state and zip are obscured or not on screen.

Panel 4 Close shot of Max's face lit blue as he reads thescreen.

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Close shot of the number "272" on the front post of aporch.

Panel 6 Shot of Max, mostly in shadows, entering thescreened-in enclosure beneath the numbers.

Panel 7 Close shot of Max forcing a magical tattoo flameblade into the lock.

SOUND EFFECTshhhhcllick

Unlawful entry.

Panel 1 Full splash page. The shot is from inside the darkhouse. The whole image is very dark. Max has the dooropen just far enough to creep in. He is stepping inwith a very faint glow just barely outlining hishands and his face. Mostly, though, he is in shadow,lit by the weak light from the street. There is asmall, hard wood, entryway in front of the door. To

the right, it opens into a living room type of space.There is carpeting and used furniture. There are twopairs of athletic shoes near the door, as well alittle shelf piled with junk mail. Our "camera" issomewhere in this living room.

Caption Title and credits

Page 4 Max looks around.

Panel 1 Shot of a stack of science books and magazines on asmall table beside a comfy reading chair. Also on the

table: an extendable lamp, a scented candle, somepens, a sharpie, and a mug with a spoon in it.

Panel 2 Max is moving from the living room into the adjoiningkitchen. The kitchen is small and fairly tidy. Thereis a lap-top open on the table. Some glasses around.

Panel 3 Shot from inside the small bathroom as he walks pastin the hall. His tats are still softly glowing.

Panel 4 Max at the end of a short hallway standing in frontof a closed door.

Panel 5 His hand on the doorknob.

Panel 6 Shot from inside the bedroom, looking back at Max ashe opens the door and enters. This is clearly acollege girl's room. A fairly mature college girl.The decor is sidewalk pick-ups and Ikea. She has aMatisse print on the wall. Her night stand is crowdedwith paperbacks and water glasses. She has a jacketon the back of the door and some bras hanging on theback of a chair. The alarm clock reads 2:18. Pajamason the floor.

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Closer shot of Max's face as he looks round the room.

MAXWELL MURDERDamn. No one's home.

Page 5 Putting the pieces together.

Panel 1 Shot of Kinetic speaking in a reassuring way. The

three of them are trying to think of how to proceed.Hourglass is stressed and slumping. Justin is wornout, but riding off of coffee and a puzzle to solve.

KINETICLook, even if all of these tests had worked, wewould only have one piece. Like when they find afinger print. It's just one piece. We can put therest together and see where it leads us.

Panel 2 Justin now steps into the conversation. He is lookingserious and stepping up to the plate. He is almostsmug, science is his "thing", he is turning an LEDpointer/pen.

JUSTINYou're a scientist, right? So let's do this likescientists. Start with observations.

JUSTINWhat do you know for sure?

Panel 3 Everyone is relaxed a bit because it feels likeprogress is being made again. As Hourglass talks,Justin is writing with the LED pen on a virtual

dry-erase board. This board is a 3D projection whichis acting as a writing surface. He is writing "girlwas killed" on the air with his LED pen. Theprojected board records his writing.

HOURGLASSOk, well, a girl was attacked. She was shot in thehead. Killed.

JUSTINDo we know who it was?

Panel 4 Hourglass answering. Justin is standing at the boardready for more responses, The board projector hasautomatically changed his handwriting into a computerfont (arial?).

HOURGLASSNo...I made a mistake with my powers.

KINETICHow do you mean?

Panel 5 Shot straight on of Hourglass as she tells her tale.

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Her eyes are looking up and to the left, rememberingher story.

HOURGLASSWhen I saw him...saw him attacking her.....I usedmy time power to stop part of his energy bolt. Ithought if I could study what it was, then I couldbeat him.

Panel 6 Closer shot of her, now she is looking distressed andworried.

HOURGLASSBut time slowed down for me while I was looking atit and when it sped up again.....

Page 6 The rest of the story

Panel 1 Hourglass is still talking, but now we see Kineticand Justin's reactions to her story. They are bothconcerned.

HOURGLASSThe man was gone and so was the girl. I could havestopped the whole thing, but I screwed up. Herdeath is on my head.

KINETICHey, you did the best you could at that moment.It's ok to be scared.

Panel 2 Kinetic keeps talking. He is gesturing to his ownhead.

KINETICNo one can be expected to know how to dealwith....with death like that. I can't imagine howthat must mess with you up here.

Panel 3 Hourglass looks back at him with a look resemblingpity.

Panel 4 Justin interjects to keep things moving. He is stillat the virtual board and they turn to look at him. Heis starting to write "unknown energy"

JUSTINOk, we're putting the facts on the board. We knowthat a man attacked a girl, and we know that heused some unknown energy form to do it. The girlis dead...

Panel 5 Shot moves so that we can see more of Hourglass asshe sits down. The hand-written "unknown energy" isnow in the same digital font. Below it, in handwriting, he has written "Victim: no body?"

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JUSTINbut you say there is no body?

HOURGLASSThat's right, they were both gone. He musthave....do you think he took the body?

KINETIC

He could have dumped it somewhere. Right?

Panel 6 Shot of Justin in front of the board. The handwritten text from the previous panel now reads"Victim: nobody?"

JUSTINI have some contacts in the police department. Ican call there in the morning and find out if anybodies have turned up. Until then, is it possiblethat she survived?

HOURGLASSShe was shot in the head. That's pretty undeniablyfatal.

Panel 7 Kinetic raising a glowing gauntlet.

KINETICI don't know. The life we lead.... We see and doimpossible things every day. Plus, if you don'tknow what the energy actually was, anything couldhave happened.

JUSTINOk, ok...Let's focus on what we DO know, not whatwe don't. Tell us everything you can about thisattacker.

HOURGLASSI don't know exactly what's memory an what'simagination, but I think....

Page 7 Back at the house.

Panel 1 Shot from inside Hourglass's fridge. Not packed. Nottoo noteworthy, mostly small portions of things. The

door is open and Max is looking in. The room behindhim is dark.

Caption (Hourglass VO from previous page) he was a bigwhite guy.

Panel 2 Max standing in front of the open fridge door, eatinga single-serving yogurt with a spoon.

Caption (Hourglass again) Maybe in a hooded sweatshirt. Itwas too quick. I don't know what else.

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Thin shot of him just lurking in the hallway, mostlydark.

Panel 4 Max entering the small bathroom. Moonlight coming inthrough the window. It is important that we see lotsof personal items in this shot, so it can be bigcompared to the other ones. Tooth brush, make-up,moisturizer, tampons, rumpled towels, bath robe,

floss. Not cluttered, but should really look like HERspace.

Caption (Hourglass) This is useless. He could be anywhere.

Panel 5 Max now with his shirt off. He is dropping thecrumpled up garment in the sink. His bare torso ismostly shadowed, so we can see that he has ink allover, but not any clear idea of what the ink is.

Panel 6 Close shot of his tattooed left hand turning the hotwater knob in the shower. Still very little light inthe scene.

Panel 7 Close shot of his face in profile looking up into astream of hot water from the detachable shower head.His eyes are closed and it is dark and steamy.

Panel 8 Shot from out in the hall looking into the bathroom.The door is open and it is still dark, and the roomis filling with steam. Through the open door, and theopen shower curtain, we might catch a glimpse of Max.Nothing too revealing, just seeing that he is inthere.

Page 8 You're innocent when you dream

Panel 1 First of three small panels across the top of thepage. A close shot of wet footprints on the bedroomfloor.

Panel 2 Second small panel across the top of the page. Closeshot of Max's hand pulling back blankets. This panelcan show so little that it will only be clear what itis in the context of the whole page.

Panel 3 Third small panel across the top of the page. Shot ofMax's head on a pillow, he is lolling to the left andhis eyes are closing.

Panel 4 Big panel taking up the rest of the page. The shot islooking down from above. Max is naked on the bed, heis on his left side, almost in a fetal position, butmore like spooning with no one. We can see that he isalmost completely covered with tattoos of bones,fire, blades, claws, and other nasty stuff. Like inthe bathroom scene, we can see a whole bunch ofpersonal stuff around this naked brute.

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More information

Panel 1 Justin still standing in front of the virtual board.He has added "Porter St." and "Thursday 7pm" and"female" and "Red Lion?". Justin is looking toHourglass for more. She is standing with her armstightly folded. Kinetic is seated, slumping, and hashis hand on his head.

KINETICOk, so this "Red Lion" knows something, but we'renot sure what it is. How do we find him?

HOURGLASSAll I know is that he was at that party.

KINETICThat was at Glyph's place.

Panel 2 Kinetic is looking up hopefully. He and Justin areboth a bit energized by something to go on.

KINETICWe can go by there and talk to him in the morning.

JUSTINI'll be able to get in touch with my policecontacts by then as well.

Panel 3 Shot of Hourglass. She is still in a very resistantposture. She is squinting and shaking her headdoubtfully.

HOURGLASSYou really think we should just walk up and askGlyph and Red Lion about this.

Panel 4 They are starting to argue now. Kinetic is stillseated but has his hands out in frustration. He istrying to remain friendly, but his fatigue isshowing. Hourglass is raising a hand and pointing afinger down like she is making a really great point.

KINETICWhy not?

HOURGLASSIf he knows something... How? How does he know it?

Panel 5 Kinetic is standing up and gesturing to his right (atnothing) like HE is making a great point. They arearguing, but they are not being aggressive or ineachother's faces. More like bickering. They are bothfrustrated, but not yelling.

KINETIC

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Those guys do magic and stuff. Who knows what theymight be able to tell us?

HOURGLASSExactly my point. "who knows what" I don't knowthem. I don't trust them.

KINETIC

You didn't know us before now, but you trust us,right?. It's the same thing.

HOURGLASSIt's not the same. I don't need to trust you.You've got instruments. I trust the results. Itrust the data.

Page 10 The argument

Panel 1 Shot of Hourglass. Medium shot, her posture showsconfidence. First of three similar panels across thetop of the page.

HOURGLASSThose guys, though.... there's no base line. Everyword could be a lie.

Panel 2 Similar shot, but of Justin. He is mulling over hergood point.

JUSTINhmmm.

Panel 3 Similar shot of Kinetic, he has already moved on to

the next thought.

KINETICWhat DID he say to you, anyway?

Panel 4 Wider shot, big panel showing the Hourglass openingup a bit and the guys listening closely.

HOURGLASSHe said.... he said that he knew why I was upset,and that he knew what I had seen. But that couldall be a lie.

KINETICok, but that's still something to go on. Even ifhe was lying, he knew enough to lie about it.Right?

HOURGLASSWell, no.

Panel 5 Another big shot. Kinetic and Hourglass are back inarguing postures. She is too defensive, and he is tooaggressive. She is squinting and being dismissive and

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condescending. He is frutrated with her attitude.

HOURGLASSWhat about those stage mentalists? He could beanother fraud. He could be reading body languageor something and making guesses.

KINETIC

He is a huge red lion. So we know that much isn'tfraud.

HOURGLASSOh, brilliant, we can believe what he says aboutme because his name matches his appearance. That'sstupid.

KINETICYou brought it up. You said he knewsomething...but now finding out what that is is"stupid".

Panel 6 Shot of Kinetic gesturing toward a bank of machines.

KINETICThere's no more tests we can run on thesemachines. So, you tell me, what else do we do?

Page 11 agreement

Panel 1 A wide panel across the top of the page. Nothing init but shadowy background and Hourglass off to thefar right. A pretty close shot of her. Her face ishard, like she is fighting back outrage. The effectof the long panel should be that she is pausingbefore answering. If there is another way to achievethis effect, do that.

HOURGLASSOk.

Panel 2 Shot of Kinetic looking back at her. He is trying tofigure out what is happening. Justin is in thebackground he looks insignificant.

JUSTIN

We may as well get some rest then.

Panel 3 Kinetic and Hourglass both turn to listen to Justintalk.

JUSTINYou will be amazed what a difference it makes tocome at a problem fresh....after just a few hoursof sleep.

Panel 4 Justin is moving around the room shutting things downand tidying up.

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JUSTINI do it all the time. I have an air mattress backhere for when I am working all night on a project.Like now.

Panel 5 Justin is pushing some paper coffee cups off of atable and into the trash bin beside it, with hisother hand he is pointing through the door to the

"waiting room". Hourglass is in the panel, but off tothe side. She is looking down and thinking. Sheshould seem uncertain. Maybe in shadow or something.

JUSTINYou guys can sack out here. There are a couple ofcouches in there. Blankets and everything.

HOURGLASSSleep. Ok.

Panel 6 Shot of Justin looking at Hourglass. He is a bit

freaked out by her now. He is trying not to let thatshow and keeps talking to comfort her and cover hisfreak-out.

JUSTINI'll set an alarm. Ok?

Page 12 Sacking out.

Panel 1 All the panels on this page are from the same angle,the just keep getting closer and closer. They allhave Hourglass's face at the center and they steadilypull in tighter on it. The first is wide enough to

show Kinetic on his couch reaching up over his headto shut off the lamp that lights the room.

HOURGLASSHow long until the alarm goes off?

KINETICJustin set it for four hours.

Panel 2 Similar shot, but now it is mostly dark. Closer onHourglass, Kinetic does not need to be in this shotat all. She is reclined with her head propped up on

pillows.

HOURGLASSOk. Four hours.

Panel 3 Slightly tighter shot. She is now holding her palmsin front of her face almost like she is readingsomething that is written on them. Her hands have asoft blue glow, so does her face and her mask.

HOURGLASSFour hours.

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Slightly tighter. Now her hands are at her sides andshe is lying motionless. She is facing up, so we cannot see her face very clearly from this angle.

Panel 5 Same angle, but tighter. She is lying still in thedarkened room. We cannot see her face very well. Weare practically right next to her.

Panel 6 Now the camera looks down at her face. Her eyes areopen and looking straight up at the ceiling as thoughtrying to memorize it.

Page 13 Day breaks in Rapid City

Panel 1 We see sunlight coming over some low rooftops.

Panel 2 A police car and an ambulance around the car thatHourglass crashed last night. The scene is taped offand there is a sheeted shape being loaded in to theambulance.

Panel 3 Coffee being poured into a mug at a coffee shop.

Panel 4 Kids stepping onto a school bus.

Caption Tuesday morning.

Page 14 Good morning Max

Panel 1 Large panel. Shot of Hourglass's front room. The sameone we already saw Max breaking into. Now we see itwith morning light cutting through the blinds. Thehall leading back to the bathroom and bedroom isstill dark. Max is standing in the mouth of thathall, shirtless. He and the hallway are dark and therest of the room is bright. Near him, but in thelight, is a book shelf full of science books, pulpnovels, and magazines. On the top is a stack ofmagazines and text books. The light is hitting thewhole shelf unit.

Panel 2 Closer shot, but from a similar angle. Max hasstepped out into the room, he has picked up the toptext book from the stack. He is not really lookingat what it is or what it says, instead, he is lookingat the stack under it. He looks kind of pissed.

Panel 3 A bit tighter still. Max is looking around the restof the room, still frustrated. He is absently tossingthe book back down in a way that causes the rest ofthe stack to topple.

Panel 4 Max again just looking around the room. The tats onhis forearms and hands are starting to glow.

MAXWELL MURDERSon of a bitch.

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Larger panel of him back-handing the bookshelf (whichis behind him and to the right) with his slightlyglowing right hand. He is smashing right through itand all of its contents. His face is a mix of rageand frustration.

Panel 6 Small panel of pages and debris flying/falling in theslitted light.

Page 15 A clue for Max.

Panel 1 Medium shot of Max as he walks through the room, heis venting.

MAXWELL MURDERHow damn hard is it to kill one stupid super-girl?

Panel 2 He is throwing a lamp into a picture or a mirror. Heis losing his shit.

MAXWELL MURDER

I used to do this. This isn't hard!

Panel 3 Shards of glass or mirror crashing to the floor.

Panel 4 Max is losing his shit. Shot of him from behind as helooks at the wreckage that the room is becoming.There is a small sound effect in the gutter betweenthis panel and the next.

MAXWELL MURDERJust need that damn corpse. All she had to do waslay there dead until a cop found her. But now...

SOUND EFFECTbing

Panel 5 Max snaps to action mode. He is suddenly serious andrigid and pointing his gunned-up index fingersstraight at the camera. His posture and the motionlines indicate that he is spinning to face the sourceof the "bing".

Panel 6 Shot from over Max's shoulder, we see what he isaiming at. It is a small lap-top, obscured by clutter

on shelf against the far wall, near the front window.LAP-TOP VOICE

You have one new email message.

Panel 7 Close on Max cocking his head like a curious dog andraising one eyebrow.

MAXWELL MURDERHmmmm.

Page 16 Max has mail

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Max standing in front of the front window. Thevenetian blinds are down, but light is cuttingthrough. He is picking up the small lap-top. It isclearly an email and internet machine, and not aserious "work" computer. It is still plugged in.

Panel 2 Low angle shot looking up at Max as he looks at thecomputer. His brow is knitted with curiosity and

malicious intent. He is not sure what this means, buthe knows he is onto something. This is what he waslooking for. We can see the back and bottom of thecomputer and his eyes poking over the top. He seemsvery large holding the cute little device.

Panel 3 He is sitting now, perched on the edge of acomfortable looking chair, but he is not comfortable.He has not set the computer down, he is still holdingit a few inches above his lap with his left handwhile he begins to scan the screen with his rightindex finger.

Panel 4 Now we see his POV of the screen and his tattooedfinger tracing along it. An email program is open andthere are several unread messages at the top of thewindow. The top one has a subject line of "meetingreminder". Below that are typical spam emails.Nothing comedic.

Panel 5 Closer on his finger as it scans across an emailabout 6 down the list. It is from"Anneagainst@_____.com" and the subject line says"Hey, wanna team up?"

Panel 6 Shot of Max's face with a cruel smile lit by theslitted morning sun.

MAXWELL MURDERYes, Anne, I do.

Page 17 Morning classes at Glyph's school. This scene is in aclass room at Glyph's school. It is an old high schoolconverted into a multi-use community center type ofthing. Glyph uses one entire wing to house his school ofnew-agey mysticism. This room used to be a normal classroom. The walls have been re-painted and covered with

tapestries and silk wall hangings and stuff like that.The chalk-boards and school style windows are stillapparent, though. Through most of this scene, Glyph isleading the class in kung-fu/tai chi style exercise.They are slow and deliberate, emphasizing poses andsmooth movements. Through each pose, Glyph has a sixfoot silk rope, with small weights at either end, drapedover and around him. He never grabs the rope, but helets it move over and around him by shifting its balanceand his own. His students are not as good as him andneed to hold the ropes to keep them from sagging or

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falling. Something like this http://www.youtube.com/watch?v=Ox4XwAr4fZo&feature=related but the slowtechniques you might use to learn the faster ones.

Panel 1 These panels are a series of similar, wide-angle,shots steadily pulling back and revealing more andmore of the scene. The first shot is a pretty tightclose up of a length of smooth silk rope running over

a man's open palm.

GLYPHEvents are not singular moments in time, each onepossesses a force which propels it from its originpoint, through the present, and into the future.

Panel 2 Pull back to see Glyph's arm, shoulder, and back ofthe head in the foreground and some of his studentsbeyond him. This is another wide angle shot. Theyhave all shifted to another position. There are aboutsix students total. They are concentrating, but

relaxed, and copying Glyph's movements with varyingdegrees of success. The youngest is 15, the oldest is60.

GLYPHThe force of any event in this universe isdetermined not only by the will that exists for itcome to pass, but also by the absence of the willto prevent it. Will is most commonly, and mostpowerfully, experienced as belief.

Panel 3 Panels 3-5 are a tier of panels running right throughthe middle of the page. It is three across andshowing random shots of things around the room. Mangastyle. The first should include enough of Glyph'sface that we can see who is talking in these scenes.

GLYPHWhen you believe the world to be a certain way...

Panel 4 Dead center on the page. The same size and shape as 3and 5. This shot should be of a student's foot on theground in the foreground, and a small Glyph in thebackground. Plus whatever else can fit.

GLYPHyou are expressing your will for the world toconform to that belief.

Panel 5 Same size and shape as 3 and 4. A shot showing Glyph,but mostly focusing on the rope itself.

GLYPHAnd thus...

Panel 6 A low wide-angle shot showing Glyph and his students.

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They are all turning together toward the back wall,where the door is.

GLYPHyou assert your will over events as they unfoldand influence them to conform to your beliefs.

Panel 7 One more wide-angle shot, this one shows the back of

Glyph's head in the deep foreground, we are lookingpast it at what he is seeing. He is looking past hisstudents at the now open back door of the classroom.Kinetic and Hourglass are entering.

GLYPHOh! It's you.

Page 18 Glyph's office.

Panel 1 Out in the hall. Glyph is hustling Kinetic andHourglass down the hall to his office. They areconfused by his urgency. The 15 and 60 year oldstudents are poking their heads out of the class tosee why their instructor rushed out.

GLYPHHere's my office.

KINETICWhat's going on?

HOURGLASSHey.

GLYPHYou're in danger. Now come on.

Panel 2 A closed school office door. A wood frame with asmoky glass window. The writing on the window says"Glyph" and "program director" Through the window wecan see a few figures. We can hear what Hourglasssays through the door, but cannot see clearly who issaying it.

HOURGLASSWhat are you talking about?...

Panel 3 Inside the office, we don't yet get a sense of whatthe room is like, because this is a closer shot ofjust Hourglass. She is irritated by Glyph's attitude.

HOURGLASSWe came here to talk to you.

Panel 4 Now a pull back so that we can see the room. This hadbeen some kind of counselor's office or something.The door that they just entered through actuallyleads to a series of rooms. The one that they are in

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had been "reception" but now it acts as Glyph's"library" and also reception. His actual office, withdesk and chairs is in the room beyond. The room stillhas the tile and painted cinderblock walls, but ithas been filled with book shelves and variouscuriosities. Not a lot of the classic skulls andpotions type of stuff. Books, gauges, abstractsculptures, speakers, new agey stuff. The overhead

lights are not used. In this shot, Glyph is leanng toturn on another lamp. Kinetic is smiling, relieved.He feels like he has resolved the confusion.

GLYPHAnd I am glad you did. Sidekick has been lookingfor you.

KINETICSidekick? He's not dangerous, he's my friend.

Panel 5 Medium sized shot of Glyph. He has his hands up in a

calming posture. His eyes are closed and he isforcing the room to relax. This is HIS office, and hewill not have it stressed out! Everything in thebackground and around him should show stress, oreffort.

GLYPHI know, I know....hold on.

Panel 6 Similar shot, but it is clear that his effort haspaid off. This image is now completely calm. ThisGlyph is more like the dude who was running the

class. Completely at ease and in control of himselfand his environment.

GLYPHListen.

Page 19 Glyph tells what he knows.

Panel 1 Big shot of the three of them standing in Glyph'souter office.

GLYPHYesterday, somebody called up Sidekick and told

him that they had found a cell phone on theground, and that his number was in it. They metup, you know to give Sidekick the phone...

KINETICok

Panel 2 Shot of Glyph talking.

GLYPHand when they did, the guy attacked him. He had

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powers. Seems he had the ability to generate, andproject, some kind of flame blades.

Panel 3 Similar size shot of Kinetic shrugging his shoulders,slightly cocking his head.

KINETICOk, but what's this got to do with me?

Panel 4 Shot of the three of them, Glyph is pointing atHourglass. Kinetic is looking at her as well. She isa bit surprised, but doesn't quite realize theimplications yet.

GLYPHNot you. Her.

Panel 5 Shot from behind Hourglass, we basically get herperspective on Glyph addressing her.

GLYPHIt was your cell phone.

Page 20 Glyph spells it out.

Panel 1 Reaction shot of Hourglass. She is stunned.

HOURGLASSWhy? Why would he do this?

Panel 2 Glyph and Kinetic gather around Hourglass, who isstill stunned.

KINETICDo you know who it is?

HOURGLASSNo. I have no idea. I don't know what's happening.

GLYPHWell, the call came in from your phone. Did youlose it?

Panel 3 Shot of just Hourglass. She is looking up and to theleft as she tries to remember details.

HOURGLASSYes. Sometime late last week. I don't know when.

Panel 4 Shot of Glyph talking to Hourglass.

GLYPHThe phone was destroyed in the fight, so you don'thave to worry about this guy going after anyoneelse he finds in there. It's fortunate that thecall he did make was to Sidekick and Flamethrower.

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KINETICYeah, those two are seriously tough.

GLYPHAnd they said this psycho held his own.

Panel 5 Glyph talking. Looking serious.

GLYPHI hate to think what would have happened if he hadcontacted someone else.

Page 21 Max gets a date.

Panel 1 Big shot of Max sitting on the recliner inHourglass's half-destroyed front room. This is a lowangle shot looking up at him as he lazily clicks witha remote control. He has a t-shirt on now and thereare several dirty plates and bowls near the chair.

Panel 2 Shot of Max looking sharply to his left.

LAP-TOPBING

LAP-TOPYou have one new email message.

Panel 3 Max smiling as he reaches over and brings the openlap-top to his lap.

Panel 4 Shot looking down at the screen. We can see the openemail. It is some non-existant email program that

looks kind of like instant messaging, in that it sayswho said what. On the screen we see the followinginformation.

EMAIL TEXTAnneAgainst said: "Glad to hear from you. I workright near Land Street. I have to be in at noon, Ican stop by on my way in. See you then,Annemarie"

EMAIL TEXTYou said: "Good picture. Can you come meet with me

today. I want to talk to you. I will be studyingin the back booth at the Land Street Coffee Shopfrom about 11 on. Please stop by."

EMAIL TEXTAnneAgainst said: "Wanna team up? Thought youmight want a copy of this. Annemarie"

Panel 5 Max walking toward the front door, holding hishoodie. He is smiling again.

MAXWELL MURDER

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Hourglass now holding her head with both hands, likeshe is freaking out and physically holding it in.

HOURGLASSAt the party, Red Lion knew about it. He knew. Histail and his body... covered in some kind of magicflames. Unknown form of energy.

HOURGLASSAnd then Sidekick gets attacked by a guy withwhat? Unknown form of energy. And he's looking forme.

Page 23 Hourglass brings it to Glyph.

Panel 1 Hourglass is holding on to Kinetic's arm with onehand and pointing at Glyph with the other. She islooking at Kinetic, almost desperate. Pleading withhim to believe her.

HOURGLASSThat's according to Glyph, anyway. This....thiskiller is out to get me. And this "Red Lion" he'smagic, right? He can change his shape, but I betno matter how he looks, he always has that"unknown energy". Right?

HOURGLASSHe knows because he was there. They're the sameguy. It was Red Lion that attacked Sidekick. Andhe knows it, too. When we ask where Red Lion is,he refuses to tell.

Panel 2 Hourglass now facing Glyph to make her accusation.Glyph leaning back in a non-threatening way, handsspread.

HOURGLASSWhat do you know? What are you hiding?

GLYPHI'm not hiding anything.

Panel 3 Glyph answering her accusations. He is firm andserious, and staring right back at her.

GLYPHYou are wrong about Red Lion. I know him, he's notwhat you think he is. I don't expect you tounderstand this the way that I do, but symbolshave power over us. Pay attention.

Panel 4 A shot of the three of them, Glyph gestures towardthem as he talks. Kinetic and Hourglass listeningattentively, drawn in by his words.

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GLYPH"Kinetic." Movement. The forward momentum ofevents.

GLYPH"Hourglass." Time slipping away, time lost.

GLYPH

"Glyph."A sign, a symbol imparting meaning.

Panel 5 A low angle shot looking up at Glyph as he speakswith authority and conviction.

GLYPHAnd "Red Lion", a living symbol of destruction.

GLYPHI won't stop you, but consider what will happen toeach of you when you let desperation and momentumcarry you past me, literally....

Panel 6 Close on Glyph's face as he speaks. He is serious anhis eyes are dark.

GLYPHon a path to destruction.

Page 24 On the road again.

Panel 1 Full page shot of Kinetic and Hourglass. Low angleand dramatic. Kinetic is looking a bit surprised andHourglass is looking weary, like she is already usedto bad news.

HOURGLASSI'm already way too far down that road. I can'tchange my course now. Too much mass and too muchacceleration.

HOURGLASSNow, how do we get to Red Lion?

CAPTIONEnd.

rapid city #6

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