DEFIB: DYING LIGHT #2/KEYBOARD WARRIOR

PAGE 1
PANEL 1: We now open back up with a highlight reel of various distorted
memories leading to the events of present day. Starting with the opening
shot of the once grand Elysium University Teaching Hospital. A medical
center that not only served as an institution of learning for future and
current health professionals but was also one of the biggest medical
research facilities in the nation.
4 ROGER (CAPTION): I cant stop looking back to the days before the blast.
5 ROGER (CAPTION): Before the fall. Before things became what they are
today.
7 ROGER (CAPTION): It was so much more simple back then.

PANEL 2: Back shot of Roger sitting comfortably behind the desk of his
office laying back in his chair with his legs crossed while a boom box in his
room obnoxiously blasts jazz music throughout the entire floor. His boss
stands in the doorway with a completely annoyed look on his face holding a
casefile in his hand which contains Rogers next assignment.
8 ROGER (CAPTION): Annoy the Admin.

PANEL 3: Scene of Roger in a hospital conference room going over a patient

case file with the rest of his team. All of them wearing their lab coats and
sitting in their seats excluding Roger himself, who continues to stand while
breaking protocol by wearing more casual attire (jeans, sneakers, t-shirt,
jacket).
9 ROGER (CAPTION): Get a case.

PANEL 4: Cut to a scene where we see Roger working his magic in an

operating theater with the rest of his team. Serving as a cleaner contrast to
the previous event in Africa with everybody wearing medical scrubs, utilizing
high-end equipment, etc.
SCENE REF: http://il3.picdn.net/shutterstock/videos/3782369/thumb/1.jpg
10 ROGER (CAPTION): Solve the puzzle.

PANEL 5: Cut to an over-the-shoulder shot of Roger leaning by a doorframe

witnessing his recovering patient, a young Caucasian man with a heavy
amount of stubble, still in his hospital bed hugging his 8-year-old kid while
his brunette wife tears up at the sight. NOTE: Remember these faces.
Theyll play a bigger part for things to come.
1 ROGER (CAPTION): Save a life.

PAGE 2
PANEL 1: Cut again to a back shot of Roger walking down a hallway with a
fellow male doctor and close cohort as they discuss the events of today.
2 ROGER (CAPTION): Thats what I used to do.
3 ROGER (CAPTION): Save the lives no one else could.
4 ROGER (CAPTION): Until it all took a turn for the worst.

PANEL 2: Same perspective. Cue large cosmic explosion suddenly busting

from the opposite end of the hallway rapidly engulfing everything in sight
while everyone from Roger and his friend to the surrounding staff caught in
its radius either shield their eyes, brace themselves or scream in terror.
5 ROGER (CAPTION): I could never forget that light.
6 ROGER (CAPTION): Their screams.
7 ROGER (CAPTION): The feeling of despair.

PANEL 3: White panel.

8 ROGER (CAPTION): As everything faded away

PANEL 4: End highlight sequence. Cut back to where we left off last issue.
Similar perspective as the previous panel with the camera panned in on
Rogers glowing eyes from behind his black void of a visor plate which is
looking pretty deadpan.
1 ROGER (CAPTION): Then I wake back up to reality.
2 ROGER (CAPTION): With only one question on my mind.
3 ROGER: Where the hell am I?

PAGE 3
PANEL 2: The newcomer Blight carefully moves towards the vigilante (who
is still sitting down on that dirty mattress) while showing off the room.
2 BLIGHT: Oh, this place? Just some condemned building I found a while
back.
3 BLIGHT: Its pretty groovy setup. Yknow, despite it being a little eerie at
times. Its got a nice open lobby, the staircase and floorboards are still
somewhat solid, and the fuzz never really show-up around these parts.
4 BLIGHT: Usually I only come out here just to train in peace but in your
case it was pretty much the only sanctuary that I could think of that was
within walking distance.
5 BLIGHT: And let me tell ya, dragging your butt all the way over here was
no easy tas-

PANEL 3: Blight continues to paces around the room until she notices that
Roger is trying to stand up.
6 BLIGHT: Wait, are you sure that you should be getting up now?
7 BLIGHT: I mean its good to see that youre even trying to get up in the
first place considering that was damn near a ten story drop you just
survived.

PANEL 4: Blight moves in closer to Roger while hes still in the middle of
getting up, now in somewhat of a kneeling position.
8 BLIGHT: Then again you bombspawn tend to be made out of sterner stuff
compared to the average man.

PANEL 5: Same perspective. Roger stops to give Blight a dirty look.

Realizing what she just said she quickly covers her mouth.
9 BLIGHT (CAPTION): Smooth one, Blight. Real Smooth

PAGE 4
PANEL 1: Blight moves in to help Roger up to his feet, throwing his arm
around her for support. A sense of awkwardness still fills the air.
1 BLIGHT: Here, let me help you up.
2 ROGER: Why are you even here?

PANEL 2: Blight smiles at the question while the both of them begin to get
up.
3 BLIGHT: Because in times like these we heroes need to stick together.

PANEL 3: Roger now standing up (if a bit hunched over) looks down at the
girl beside him. Showing off a major height difference (Roger being around
6 4 while Blight is 5 6).
4 BLIGHT: R-Right?

PANEL 4: Close in on Rogers face as hes still looking down at her.

5 ROGER: Right

PANEL 5: Front shot of Roger quickly reaching out and yanking off Blights
mask in a flash. With her back to the camera we cant see the teenage
heros face (not yet at least), just her rustled hair flowing in the rush of
wind.
PAGE 5
PANEL 1: Wide shot. We reveal Blights face. Just some regular teenage girl
with brunette hair and a light dusting of freckles on her face. Her eyes widen
and her mouth is slightly agape, probably stunned at the fact that she was
just unmasked on the spot with little to no effort.
6 ROGER: *Sigh*

PANEL 2: Roger tosses her mask to the side while he makes his way
towards the doorway with his coat slung over his back. Blight is still frozen in
place with the expression of shock on her face.
7 ROGER: Go home.
8 ROGER: Kids like you shouldnt be out this late.
9 ROGER: Especially on a night like this

PANEL 3: Roger takes a look outside of the room with his free hand on the
doorframe to check out the rest of the building, taking him out to a dim and
dark hallway. The walls paint is chipped, dirty tile runs across the floor, and
dead circular lights are placed near every doorway. REF FOR HALLWAY:
https://thatfightscene.files.wordpress.com/2015/03/raid2.jpg
10 ROGER (CAPTION): I havent felt this bad in a long time.
11 ROGER (CAPTION): Senses are numbed.
12 ROGER (CAPTION): Visions blurry.
13 ROGER (CAPTION): And my brain feels like its going to start crawling out
of my skull.

PANEL 4: Roger moves down the hallway while using the wall as a support.
14 ROGER (CAPTION): That Hail Mary maneuver took too much out of me.
15 ROGER (CAPTION): And with the citys entire power grid down I cant
exactly do anything about it.
16 ROGER (CAPTION): At least not the usual methods.
17 ROGER (CAPTION): Wouldnt be the first time I had to improvise, damn
well wont be the-
PANEL 5: Just as Roger begins to moves down the hallway, somebody off
panel (obviously, Blight) calls him out, grabbing his attention. His head turns
to look over his shoulder.
18 BLIGHT: HEY!
19 ROGER (CAPTION): God dammit, not now!

PAGE 6
PANEL 1: Blight rushes behind Roger while struggling a bit trying to get her
mask back on.
1 BLIGHT: What the heck was that for?!
2 ROGER: Didnt I already tell you to go home?
3 BLIGHT: Y-You took off my mask! My MASK! On the first encounter, no
less!
4 ROGER: I think youve gotten me confused with the guy who actually has
the patience for this shit.

PANEL 2: Side shot. While Roger turns around fully to face her, Blight
throws her hands in the air in frustration.
5 BLIGHT: But you know what I look like now!
6 ROGER: Trust me, once enough time has passed Ill forget your face soon
enough.
7 BLIGHT: So thats it, huh? I save your life and you just up and tell me to
piss off?
8 ROGER: Well what the hell do you want? A medal?
9 BLIGHT: How about some gratitude!

PANEL 3: Similar perspective. Blight starts to get into Rogers face.

10 ROGER: What I do in the night is a thankless job, a job that you shouldnt
even be attempting in the first place.
11 BLIGHT: Oh really? And why is that? What makes me so ineligible that I
cant try and help? What makes me so different from-

PANEL 4: Roger slams his fist against the wall leaving a large indentation.
His eyes start glowing red with fury again. He gets directly in Blights face,
his visor practically inches away from her mug, and begins to shout at her.
Causing her to lean back in surprise/fear.
12 ROGER: I DO NOT HAVE TO SIT HERE AND EXPLAIN MYSELF TO
YOU!

PAGE 7
PANEL 1: Same perspective. Everybody frozen in a similar pose as before.

PANEL 2: Same panel as before but with Rogers eyes reverting to a neutral
blue.

PANEL 3: Same panel as before but with Rogers eyes growing incredibly
weary.

PANEL 4: Roger suddenly collapses and hits the floor. Blight moves out of
the way just in time to avoid getting crushed by his body but her face is
visibly stricken with shock and concern.
1 BLIGHT: OH CRAP!

PAGE 8
PANEL 1: Blight immediately kneels to the ground and begins shaking
Rogers near lifeless body.
1 BLIGHT: Please dont be dead, please dont be dead, please dont be dead-
2 ROGER: Ugggh
3 BLIGHT: Oh thank god.

PANEL 2: Roger with his eyes barley keeping open, ties his best to address
the girl next to him desperately trying to shift him upright against the wall.
4 BLIGHT: Come on, Bright-Eyes. You gotta stay up.
5 ROGER (CAPTION): I dont have much time left before I end up blacking
out again.
6 BLIGHT: You need to stay up!
7 ROGER (CAPTION): Need to tell her

PANEL 2: Blight grabs Roger by the shoulders and begins shaking him in a
desperate attempt to keep him awake.
8 BLIGHT: Stay up!
9 ROGER (CAPTION): Tell her
10 ROGER: Power

PANEL 3: Blight moves in closer to hear what Roger is trying to say.

11 BLIGHT: Im sorry, what?
12 ROGER: Needpower
13 ROGER: Batteries
14 BLIGHT: Batteries. Okay, you need batteries?

PANEL 4: Cut to an overhead shot of a small parking lot behind placed

behind some sort of drug store. Theres one dark blue car parked out there
which looks similar to a DAF 600. We still see that the rain is not letting up
at all.
15 BLIGHT (CAPTION): I can do batteries
PAGE 9
PANEL 1: We cut again to the inside of the drug store where we get a shot
of the darkened store aisles lined with products ranging in everything from
cold meds to medical ointments. A bit of the front counter can be seen
further in the distance.

PANEL 2: Side shot of Blight in front of one of the aisles ripping battery
packs off the designated hangars and dropping them in a backpack that still
has a price tag on it.

PANEL 3: Close in shot of the backpack as Blight zips it up, giving the
viewer a brief look at the contents inside.

PANEL 4: Blight slings the bag over her shoulder, taking one wary look at
her surroundings before heading out.

PANEL 5: Cut to the back entrance of the store. The teen hero opens the
metal door and carefully walks through with her bag in tow.

PANEL 6: Same perspective. Suddenly two headlights get flashed in Blights

face. She shields her eyes from the light and is now visibly panicked.
1 COP 1 (OFF PANEL): POLICE! FREEZE!
2 BLIGHT: Crap.

PAGE 10
PANEL 1: As the two cops hop out of the black and white vehicle getting
ready to draw their side arms, Blight books it towards the right in an attempt
to evade them.
PANEL 2: One of the cops take aim with their service revolver and fire two
warning shots at her, forcing the girl to duck while on the move towards a
back alleyway. One of the bullets whiz close over her head.

PANEL 3: The other cop rushes after Blight as she desperately runs down
the alleyway with the bag in tow.
1 COP 2: After her!

PANEL 4: Front shot. Blight loses her footing as she turns around the
corner, nearly falling into a growing puddle. The frantic beams of the officers
flashlight hot on her heels.

PANEL 5: The two police officers finally come around the corner, aiming
their sidearm along with their flashlights down the dark alleyway trying to
pursue the suspect.
2 COP 1: GOD DAMMIT, I SAID FREEZE!

PAGE 11
PANEL 1: Backshot of the cops looking dumfounded as it seems like Blight
disappeared without a trace. Nothing but a long alleyway ending in a chain
fence and a kicked over trashcan towards the right wall.
1 COP 1: The hell?
2 COP 1: Where did she go?

PANEL 2: The second cop looks down at his hand radio mounted on his belt
to which has begun blaring.
3 RADIO: Calling all available units, requesting for immediate back-up for a
10-18 downtown.
COP 2: Shit. Nelson we gotta go!
COP 1: But what about-
COP 2: Forget her, we got bigger problems to deal with right now!
PANEL 3: Overhead shot of the two soaked officers rushing back around the
corner to return to their vehicle. We also see that Blight was hiding on top of
a rusty fire escape sitting low with her back pressed against the window
entrance, patiently waiting for the coast to be clear before making her move
again.

PANEL 4: Side shot of Blights silhouette sprinting across the street from the
alleyway with the downpour still constant.

PANEL 5: Similar perspective. Pan out to reveal a front portion of the car
with the drivers seat mirror giving us a look at a shadowy figure behind the
wheel. Observing the girl as she closes in on the side walk.

PAGE 12
PANEL 1: Cut to a shot of a stark white stretch limousine cruising down the
empty blacked out roads of Elysium City.

PANEL 2: We take a peek inside of the limo to see its passengers relaxing in
their luxurious accommodations. Neon white lights encompasses the room.
We see our two major antagonists. A man wearing a metal mask with
glowing eyes and a crown integrated into the design along with a white and
black suit with a white tie sitting on the side nearest to the bar. A woman
with long black hair in a black and white dress with form-fitting sleeves (also
wearing a mask similar to her counterpart) sits across from him looking over
some files. Both seem to be somewhere between their late 20s and early
30s.
1 COMMUNICATIOR SFX: BRZZZZZZ

PANEL 3: The Queen puts aside her files and answers the call with a
communicator resembling a bulky SATPhone then places it to her ear.
2 QUEEN: Yes.
3 PAWN (ON OTHER LINE): I think I might have found a lead on the
whereabouts of our mutual friend.
4 QUEEN: Is that so? Do tell.
5 PAWN (ON OTHER LINE): Well some chick in a costume has been spending
most of the night looting multiple convenience stores near the lower wards.
6 QUEEN: Nearly everyone in this city is out burglarizing everything in sight
tonight. What makes this one so special outside of the spandex?

PANEL 4: Another shot of the Queen as her eyes light up at her informants
next comment.
5 PAWN (ON OTHER LINE): Well how many of them are only gunning for
battery packs?

PANEL 5: Similar shot as the Queen straightens up and concluded the call
with her orders.
4 QUEEN: Keep shadowing her, as soon as it seems shes reached a final
destination send word to whoever we have nearby.
5 PAWN (ON OTHER LINE): Right away, maam.

PAGE 13
PANEL 1: The Queen flips off the device and looks up at her King who
seems to be in a solemn mood.
6 KING: *Sigh*
6 QUEEN: You alright, my love?
3 KING: Im fine, Elizabeth.
4 QUEEN: Youve barely said a thing since we picked you up from-
5 KING: Im fine Elizabeth.
PANEL 2: Snap back to Elizabeth holding the bridge of her nose in
annoyance while putting her things to the side while David still lays back.
1 ELIZABETH: I know that look of yours, David. Ive seen it way too many
times to know that when you say something is fine it usually isnt.

PANEL 3: Close up shot on David gazing at the lit roof of the luxurious
limo.
2 ELIZABETH: Whats on your mind?
3 DAVID: Just remind me again why this was all so truly necessary?

PANEL 4: David gets up and points his finger at Elizabeth in objection to her
next statement.
4 ELIZABETH: Because he killed Anatoly.
5 DAVID: Anatoly and the rest of those Ruskies crossed a line the moment
that bastard thought he could start up a meta-trafficking ring like we
wouldnt notice!
6 ELIZABETH: Which was an unforgivable transgression that we would have
dealt with on our own terms.
7 ELIZABETH: But he beat us to the punch.

PANEL 5: The two continue to look at each other in the eye as they
continue their conversation.
8 DAVID: And? The man practically did us a favor. With the Russians gone
we get everything they left behind on top of not having to worry about our
people getting kidnapped off of the streets. We should have wiped our hands
of those fools sooner.
9 ELIZABETH: But you need to remember who most of these fools were.

PAGE 14
PANEL 1: Close in shot on Elizabeth as she begins to elaborate on why
Roger needs to die as scene from the past unfolds in black and white behind
her. An image featuring several lieutenants of the Russian mob alongside
their elderly white haired leader Anatoly who is standing proudly in the
middle while smoking a cigar.
1 ELIZABETH: The Bratva werent just your average mob who recruited any
lowlife off of the street who could hold a gun. The bulk of their ranks were
made up of ex-soldiers, veterans who were strapped up to their gills in
smuggled military hardware. The Italians and the Chicago Irish couldnt hold
a candle to these thugs.

PANEL 2: Transition to the scene and zoom out to show that the previous
scene featuring the leaders of the Russian Mob is actually a large framed
photograph placed up on the wall of a fancy office with black tiled floors.
2 ELIZABETH: But when our hero found out about the meta trafficking
situation.

PANEL 3: Same perspective. A Russian mobster suddenly gets thrown

straight into the picture with immense force, shattering it.

PANEL 4: Same perspective. The Russian slumps to the ground along with
the picture, leaving behind a large indentation on the wall from the impact.
We see that its Anatoly with blood dripping from his face

PANEL 5: Anatoly looks up to the shadowy figure looming overhead

PANEL 6: Change perspectives to show that the figure is actually Roger and
behind him we see that Anatolys entire office is practically littered with
spent bullets and the bodies of his comrades. Everyone beaten, burned, and
mangled in horrific ways with blood splatter and scorch marks scattered
against the walls in various places.
3 ELIZABETH: To say that he shared our mutual disgust is an
understatement.

PAGE 15
PANEL 1: Transition back to the Queen finishing her statement while getting
up to move closer to her lover.
1 ELIZABETH: An entire crime family wiped out in a single night.
2 ELIZABETH: All because of one very determined vigilante.
3 ELIZABETH: You can see how someone with such capabilities can put the
rest of our associates on edge.

PANEL 2: Pan in on the King leaned back with his arms crossed, tilting his
head in a skeptical manner.
4 DAVID: So, this is you trying to resolve a problem before it gets the
chance to be a problem?

PANEL 3: The queen sits in her kings lap with her hand firmly placed over
his chest.
5 ELIZABETH: No. This is us ensuring the continued prosperity of all that we
have built together.
6 DAVID: Heh, well youve been quite busy since I last saw you.
7 ELIZABETH: Well someone had to hold down the fort while you resolved
our matters in Chicago.

PANEL 4: Close in as her hand works its way up to his shoulder.

8 ELIZABETH: Trust me, my love. Removing him from the board is
quintessential to our plans.
9 DAVID: Then its best you start filling me in on whats going on.

PANEL 16
PANEL 1: We cut to an overhead shot of a group of shady looking men
loading up a delivery truck thats parked outside of a warehouse full of guns
and cases of ammunition.
1 DAVID (CAPTION): How is the situation looking out there right now?
PANEL 2: Side shot of one of the men wearing a beanie handing a guy
inside the truck a boxy looking laser rifle with a reflex sight.
2 ELIZABETH (CAPTION): Seems like the word has spread around pretty
quickly. Several mercenary groups have already set up shop and are making
routine patrols throughout the city.
3 ELIZABETH (CAPTION): We might have even attracted the attention of
some major players with the amount set on the table.

PANEL 3: We see a scene of a mass group of people looting several stores

in Elysiums commercial district. One of the stores metal gates have been
ripped open while two guys try to make off with a large TV. Several
approaching cop cars causes the looters to scatter, desperately holding on to
their stolen acquisitions.
4 DAVID (CAPTION): And the boys in blue?
5 ELIZABETH (CAPTION): Pacified. Thanks to our little blackout the ECPD
will be too busy dealing with random looters instead of trying interfere.

PAGE 17
PANEL 1: Open back to Blight who has successfully returned to the
condemned apartment complex bag of acquisitions slung over her shoulder,
trying to get one of the front doors open during the storm. High wind speed
blowing her cape rapidly aside. We see that the building is a solid 20 stories
tall with the outside in just a downtrodden condition as the inside.
Dirty/boarded up windows, washed out paint, slight structural damage, etc.
DAVID (CAPTION): This is going to be a long night

PANEL 2: Blight stops momentarily to look around before going in to ensure

she wasnt followed.

PANEL 3: Cut to a first-person perspective through a set of NV goggles

zoomed in on Blight as she looks around.
PANEL 4: Same perspective. The goggles zoom in on Blight as she opens
the door and walks into the rundown building.

PANEL 5: Same perspective. The door shuts behind Blight as she heads
inside.

PAGE 18
PANEL 1: Cut to a backshot of the man with the goggles (looks like the
PVS-5A NV set-up) hiding in the courtyard behind one of the buildings apart
of the complex. He lowers the goggles and pulls out a Vietnam War era hand
radio to place near his face.
1 MAN: Suspect has entered the facility. Is the sniper team ready?

PANEL 2: Cut to a shot of a sniper team set up on the roof of a building

across the street which is at a lower elevation from the apartment complex,
leveling out to the window of the room Blight brought Roger in (which is still
lit from the fire burning from in the barrel). The sniper is loading a
Remington M40 Bolt Action outfitted with a Starlight Scope while his spotter
beside him is using a laser rangefinder while answering his hand radio.
2 SPOTTER: This is Skull 7, were set and waiting for visual.
3 MAN (ON OTHER LINE): Roger that, Skull 7. Well secure the rest of the
perimeter.

PANEL 3: Close in on the sniper as he pushes the bolt of the M40 forward
then closes it in one fluid motion.
4 SKULL LEADER (ON OTHER LINE): Skull 7, this is Skull Leader. The
moment you have the target in your sights, you are cleared to fire.

PANEL 4: The sniper eases his face into the scope with a distorted reflection
of the lit window appearing on the glass of his front lens.
5 SPOTTER: Understood, Skull Leader.

PAGE 19
PANEL 1: Cut back to a front shot Blight as she walks around the corner of
the hallway she left Roger in who is still slumped against a wall (somewhat
obscured from view). She has a flashlight in her hands with the beam
illuminating the shadows of the room.
1 BLIGHT: Youre in luck, bright-eyes! I found a whole bunch of batteries
with your name on em.
2 BLIGHT: And by found, I really mean stole straight off the-

PANEL 2: Blight aims the light on Roger who is still slumped on the ground
staring at a squirming rat in his grip.
3 BLIGHT: Racks

PANEL 3: Same perspective. Roger turns his head to look at Blight with his
dimmed eyes barely open.
5 ROGER: You mind not shining that damn thing directly at my face?

PANEL 4: Blight immediately turns off the flash light and puts it away as
Roger tosses the rat aside into the darkness of the hallway.
6 BLIGHT: O-OH! UmmSorry about that.

PANEL 5: Similar perspective. Roger extends an arm towards Blight with an

open hand while Blight nervously unslings the bag over her shoulder.
7 BLIGHT: Y-Yeah, just give me a sec

PAGE 20
PANEL 1: Blight cautiously hands Roger the hefty backpack by one of the
straps which he grabs in turn.

PANEL 2: Roger with the pack now in his possession quickly roots through it
while Blight walks to take a seat on the floor across from him.

PANEL 3: Roger pulls out a box of SUPER QUALITY 9 volt dry batteries
labeled with a leak proof guarantee seal. He looks at the box with almost a
sense of disappointment.
1 BLIGHT: I know these alone might not be enough to get you back on your
A-Game. I tried to find something a bit more oomph but a lot of the usual
places already got picked clean by the looters.
2 BLIGHT: But look on the bright side, at least you got em free of charge!

PANEL 4: Roger stops to look up and raise an eyebrow at the girl nervously
smiling at him while scratching the back of her head.
3 BLIGHT: HehHeh

PANEL 5: Blight shields her face in shame as Roger continues to open the
box of batteries in his hands.
5 BLIGHT: Im sorry, that was terrible.
6 ROGER: Just dont quit your day job.

PAGE 21
PANEL 1: Wide shot of the two protagonists still sitting on the ground.
Roger on one end in the middle of draining the small bundle of batteries in
his hands with sparks flying from the pile. Blight on the other end fidgeting
in place, thinking about another topic to tackle.

PANEL 2: Blight eases back onto the wall and looks up to the ceiling.
1 BLIGHT: I wasnt joking about the looters though. Everywhere from the
Neon to Chinatown looks like a damn warzone thanks to them.
2 BLIGHT: I mean you would think that with weather this terrible some of
these cats wouldve had a good enough sense to stay indoors. But of course,
theres always at least one scumbag in this city trying to take advantage of
a bad situation.

PANEL 3: Pan in on Rogers face plate as he continues to drain another

bundle of batteries with the light from the sparks being reflected off his
visor.
3 BLIGHT (OFF PANEL): Speaking of which, could we, yknow, try and
address the elephant in the room.
4 BLIGHT (OFF PANEL): Specifically, how the heck does the Lightning
Lancer himself wind up half-dead in a dumpster?

PANEL 4: Similar perspective. Roger stops to look at Blight across from him.
5 ROGER: That doesnt concern you.

PANEL 5: Blight looks at Roger in mild frustration as he tosses the drained

set of batteries beside him.
6 BLIGHT: Seriously? If that didnt concern me I wouldve never stuck my
neck out to save your bacon twice tonight.
7 BLIGHT: Come on. The least you can do is give me the abridged version of
what the heck going on with you.
7 ROGER: Ill admit that you helped me out of a bind. But if I allow you to
get even more involved than you already are, Im going to be the one at
fault here for putting you at risk.
8 ROGER: So, the less you know, the better.

PAGE 22
PANEL 1: Blight suddenly stands up and dusts herself off.
1 BLIGHT: Well if you wanna sit here and play the strong, silent type until
sunrise, thats fine by me.
2 BLIGHT: But if youre honestly implying that I should just leave you
hanging while youre just one step away from Deaths Door

PANEL 2: Upwards shot. Blight extends a helping hand to the downed Roger
to get him back on his feet.
3 BLIGHT: You got another thing coming.

PANEL 3: Wide shot. Close in on Blights hand still waiting for Roger to take
it.

PANEL 4: Same perspective. Roger finally takes her hand. The two forming
a firm grip as she helps him up.

PANEL 5: Back shot of the two walking down the hallway towards the lit
room with Rogers arm over Blights shoulder as she helps keep him steady.
4 ROGER: Ugh, I feel like Im just getting off a bad case of bottle-ache.
5 BLIGHT: Eh, youll be fine. And if not? At least you can pass knowing the
76ers beat the Celtics.
6 ROGER: Like those assholes had a chanc-waitHow did you know I was
from Philly?
7 BLIGHT: Ha! Well that accent of yours aint exactly screaming Great
Lakes, my friend.

PAGE 23
PANEL 1: Front shot of the duo as they grow closer to the lit doorway.
1 ROGER: That bad, huh?
2 BLIGHT: Dont worry, one of my in-laws, hes got it a lot worse than you.
Lays it on thicker than a porterhouse steak.
INNER PANEL 1: First person perspective from the view of the snipers
starlight scope with the reticle trained on the doorway through the window.

PANEL 2: Roger holds on to the doorframe with Blight making the turn
inside.
3 ROGER: Let me guess, South Side?
4 BLIGHT: Yeah, near some place called Marconi.
5 ROGER: Go figure.

INNER PANEL 2: Same perspective. Blight enters the snipers sights but
Roger is still out of view with his hand on the doorframe being the only
indicator that hes coming in.

PANEL 3: Roger and Blight comes through the door with Rogers hand still
on the frame.

INNER PANEL 3: Same perspective. Roger finally comes into view matching
the scene in the outer panel.

PAGE 24
PANEL 1: Side shot of the sniper firing his rifle with recoil kicking back into
him.
1 SFX: BANG!

PANEL 2: Splash page. The bullet breaks through the window and wizzes
across the room. Getting a direct hit on Roger which knocks him off his feet.
Blight looking back in shock.

To Be Continued