Knights of Columbus #10

Issue Ten: “Sheep’s Clothing, part 3: No Surprises”

PAGE ONE

“Previously” page

PAGE TWO

1/ Long panel on a partially exposed manhole, in the middle of the night. The manhole cover is slid off to the side slightly, and steam rises up from inside into the abandoned city streets of late night Columbus. The curb is angled, suggesting that the manhole is located at an intersection, and the manhole cover reads “City of Columbus, Ohio.” Two long shadows hang over the scene, blocking the yellow-orange glow of the street-lights, as their owners approach the manhole cover off panel, overheard before they are seen.

GUY ONE: Is anybody looking?

GUY TWO: At this hour? This is COLUMBUS, man. Nobody’s downtown THIS late.

2/ Same panel, except that two work-booted sets of feet have entered the scene, and the one on the left reaches down to pull the manhole cover the rest of the way off.

GUY ONE (LEFT): Man, I’m OVER this. I want OUR sewers back.

GUY TWO (RIGHT): It won’t be much longer, now. Magda said we only have to be here long enough to rack up a bunch of ZOMBIES and do the JOB.

3/ Same panel, except that one of the two men has lowered himself down into the manhole and all that remains of him are his hands, sticking up over the side and clinging to the edge as he dangles down inside. The other booted pair of feet remain, waiting their owner’s turn to descend. The manhole cover sits off to the side.

GUY ONE: Still, though. I miss the sewer we had in NEW YORK. I had my bedroom TRICKED OUT, man. I just wanna get back to it.

GUY TWO: Soon enough.

4/ Same panel, except that guy two has now completely disappeared and guy one is lowering himself down into the manhole as well, only his hands showing as they cling to the edge of the surface. He dangles with one hand and uses the other to pull the manhole cover back into place. Their voices come up from below.

GUY ONE: Friggin’ BETTER be, dude. The rats here taste like ASS.

GUY TWO: You and your RATS. That’s RANCID. You know that, right?

PAGE THREE

1/ Deep in the sewer, we see the two men’s figures walk out of the shadows as they journey down a long sewer corridor, pipes leaking water all around them and rats scurrying at their feet. They are tall, muscular, werewolves – currently in human form, though they show their werewolfness by having long, dirty hair and strong overbites showing sharp, rotten teeth. They are clearly far more deformed by their nature than either Beth or Landon, and their hairy arms lead to rough, worker’s hands, with fingernails badly in need of care. They are dressed in casual street clothes, both wearing printed tees with images of popular cartoon characters or famous bands.

GUY ONE (LEFT): You think this is going to WORK?

GUY TWO (RIGHT): All of THIS? God, I hope so.

2/ They walk through the sewer, side by side, passing endless mazes of pipes and meters, rusted metal wheels dripping water from their edges mounted all over the walls.

GUY TWO: I mean, if it DOESN’T, then we’ve just spent the past MONTH AND A HALF breaking every damn rule in the Brotherhood CHARTER for NOTHING.

3/ Closer, as guy one looks over at guy two, concerned.

GUY ONE: You don’t think they’d have us all KILLED, do you?

GUY TWO: The council’s in SHAMBLES. They can’t DO anything right NOW.

4/ On guy two, giving guy one a reassuring but dismissive look.

GUY TWO: Don’t WORRY so much, dude. Magda ALWAYS knows what’s best.

5/ Long panel as they reach their destination – an underground clearing in the sewer, clearly a control room or something like it, in which there are gathered fifty or so werewolves, all currently in human form. They are all gathered together and looking away from us, at a staging area that is concealed from our view by the teeming throng. The stumble and bump into each other and jockey for position, as the two we’ve followed till now try to squeeze into the group and get a look at the leader they’ve all gathered to see. Some even hang from the maze of pipes descending from the ceiling, waving back and forth in the air as they swing, waving their free arms excitedly. The leader Magda’s voice emanates from off panel, reaching over the crowd as she addresses them all.

MAGDA (TAILLESS, OFF PANEL): Friends.
MAGDA: Children.

MAGDA: Brothers and sisters.
MAGDA: Thank you for your PATIENCE over these last few WEEKS.

6/ High above the room, concealed in shadow, we see a human male figure crouched in the network of pipes, secretly listening. Magda continues, unaware.

MAGDA (TAILLESS, OFF PANEL): You have LIVED in these SEWERS.

MAGDA: You have PRAYED on the IMPURE to create our UNDEAD friends.

7/ The shadow figure moves forward into a small patch of light, revealing to us that it’s Andrew, spying on the werewolf outpost and remaining carefully concealed in the jumble of pipes and gauges, moving like a ninja through the dark underground. He looks down at the gathering, carefully positioning himself for the best view with the most safety.

MAGDA (TAILLESS, OFF PANEL): But tonight is our LAST NIGHT in this HELLHOLE, is it not!?

PAGE FOUR

1/ This is a FULL PAGE SPLASH, featuring the issue’s TITLE, CREDITS and INDICIA. Revealed for the first time is Magda, leader of the upstart faction of the Brotherhood, who poses dramatically in werewolf form as she descends from her stone platform down a small set of steps, addressing the crowd gathered. Around her, on the slightly raised platform, are a handful of Zombies, staring blankly ahead as they remain obediently still beneath the vast network of tubing where all the pipes in the sewer meet to form a small control room. Rats scurry across the pipes as Magda speaks, she herself decked out in gypsy-like accoutrements, decorating her gray and furry hide for combat. A colorful shawl drapes over her back, and jewel-encrusted gold rings line her eyebrows and ears, matching the golden and jeweled gauntlets that wrap around her powerful-looking paws. Magda is clearly very old, but not in the slightest bit weakened by her age. Her eyes are a stunning blue, practically illuminating the dreary surroundings. When she finishes her speech, the gathered werewolves pump fists in the air, chanting.

MAGDA: Because TOMORROW, in the BROADEST of DAYLIGHT, we MAKE OUR MOVE!!!

MAGDA: And Landon, my WAYWARD SON, will leave his BITCH behind and take his RIGHTFUL PLACE!

WEREWOLVES: FOR LYCAON!

PAGE FIVE

1/ Cut to a hospital bedroom, as Milo arrives at the door, rapping slightly against the wood grain as he smiles warmly. It is now daylight, and the room is lit brightly by natural light from outside. Milo wears a Weezer T-shirt.

CAPTION: The next day, on the other side of town.

MILO: Knock knock, Chris.

2/ Chris lays in his hospital bed, looking a bit worse for wear than we last saw him. The virus is clearly having its way with him. He turn to face Milo and smiles, his eyes lighting up for what looks like the first time in days. He is bathed in sunlight pouring in from the large windows on the other side of the room.

CHRIS: Milo!
CHRIS: This is unexpected.

3/ Long panel as Milo approaches the bed, somewhat awkwardly, and the two share conversation. Milo’s holding something back, and Chris can tell, but he remains cheerful for the visit.

MILO: Well, I have to be at work in, like, FORTY-FIVE minutes… but I wanted to swing by and say hello before I go.

CHRIS: Nice to know you’re THINKING of me.

MILO: Of course.

4/ Chris looks at the ceiling, staring off into space, as he sighs.

MILO (off panel): So, how’s things?

CHRIS: Not bad, all things considered.
CHRIS: I mean, they’ve got me on more DRUGS than I’ve EVER done recreationally, that’s for sure.

5/ Milo laughs uncomfortably, nervously scratching his arm as he looks anywhere but at Chris. He bites his lip a little as he speaks.

MILO: Ha.
MILO: Well, at least there’s THAT.

6/ Close on Milo, looking upset.

MILO: And I’m assuming that keeps the PAIN down to a minimum?

7/ Chris looks at Milo, seeing through the charade. He addresses him bluntly.

CHRIS: Look…why don’t you come out and SAY whatever’s on your MIND?
CHRIS: Because that’s really not an I-JUST-CAME-TO-VISIT look you’ve got goin’ on.

PAGE SIX

1/ Milo rubs his nose on his wrist and sniffles as a single tear rolls down his cheek.

MILO: ::sniff::

2/ Chris sits up out of bed, immediately concerned. He props himself up on his hands as he looks Milo straight in the face, his eyes wide with worry. IV tubes stretch across the bed, getting slightly tangled in each other.

CHRIS: Jesus, Milo.
CHRIS: What’s WRONG?

3/ Milo steps back, gesturing for Chris to stay where he is, obviously disappointed in himself for getting Chris worked up. He pleads with Chris, trying desperately not to start flat-out crying.

MILO: Oh God, no, don’t get up!
MILO: It’s just…okay.

4/ Close on Milo, distraught.

MILO: I’ve met someone. I have a DATE.

5/ Chris remains in his position, looking away from Milo now. He looks shocked, but hides it carefully.

CHRIS: Oh.

6/ Chris lays back down, adjusting his sheet around him and doing his best to maintain eye contact with Milo, his face a mask of concealed emotions.

CHRIS: Okay.
CHRIS: What’s his name?

7/ On Milo, regaining his composure. He looks at Chris, but his eyes wander, looking more at Chris’ legs than at his face.

MILO: David. His name is David.

8/ Chris smiles awkwardly, trying to remain positive. He glances away from Milo.

CHRIS: Is he CUTE?

PAGE SEVEN

1/ Close on Milo, emotions mostly guarded but betraying a hint of irritation. He speaks almost downward, his chin pulled back toward his body.
MILO: (smallish font) Don’t do that, Chris.

2/ Chris looks straight at Milo, his face stoic but also betraying the slightest indication of familiar annoyance. It’s clear that the two of them have never fought well, and that the burgeoning drama is a more of a nuisance, in this one moment, than anything else.

CHRIS: ::sigh::

3/ Chris breaks his stare, turning to face the ceiling, resigned.

CHRIS: What would you like me to do, Milo?

4/ Milo gestures wide, incensed. His sadness is replaced by a scowl.

MILO: I don’t KNOW!
MILO: I just…I don’t want you to act like you’re OKAY with this! I’M not okay with this, yet, and you’re not helping things at ALL!

5/ Long panel as Milo stands at Chris’s bedside, berating himself as Chris looks on, Chris’s body language suggesting equal parts frustration and sympathy.

MILO: I feel like a BASTARD, and I DESERVE to!

CHRIS: God! Milo…how long are you going to keep DOING this to yourself?

6/ Close on Milo, angry.

MILO: Doing WHAT, Chris!?
MILO: Knowing when I’m WRONG?

7/ Chris tosses his head back, laughing heartily and a bit scathingly.

CHRIS: Ha!
CHRIS: Milo, at NO POINT in the entire time that I’ve KNOWN you have you EVER given any indication that you knew when you were WRONG.

PAGE EIGHT

1/ Milo turns away, walking toward the door with a hurt look on his face.

MILO: Goddamnit.
MILO: If this is how you’re gonna act, then I should GO.

CHRIS: Milo.

2/ Chris sits up slightly, just barely raising his head from his pillow. His face is stern now, staring Milo dead in the eye.

CHRIS: Little Miss DRAMA QUEEN.
CHRIS: Listen.

3/ On Milo, watching as Chris speaks off panel, Milo’s expression of indignance withering as Chris lays it out for him.

CHRIS (OFF PANEL): Should you feel responsible for my being here? SURE.
CHRIS: As responsible as I am? MAYBE. Maybe not.

4/ On Chris, looking pleadingly at Milo.

CHRIS: But that doesn’t mean YOUR life is over, too.

5/ Milo walks back to the bedside as Chris sits up again, propped on his arms. He continues to hold eye contact with Milo, as Milo tries his best to follow suit.

CHRIS: YOUR life gets to go on.
CHRIS: And you get to learn from your mistakes.
CHRIS: And you get another shot at happiness. And you DESERVE another shot.

6/ On Milo, tearing up slightly as he speaks to Chris.

MILO: But I should BE here for you, through ALL of this.

7/ On the bedspread as their hands touch, Chris’s resting slightly on top of Milo’s. An IV sticks out of the back of Chris’s hand, trailing out of the panel.

CHRIS (OFF PANEL): And you HAVE been, Milo.
CHRIS: And you will be again.

8/ Close on Chris, looking straight into Milo’s eyes, Milo off panel.

CHRIS: I don’t wanna LOSE you, Milo. But I know when to let GO.

PAGE NINE

1/ Cut to the rooftop of the Atlas Building, midday. Donovan and Rhiannon are viewed from a slight distance, facing each other in their respective meditative poses, legs crossed Indian style and palms turned upward. Birds fly overhead. Donovan wears blue jeans and a black t-shirt, with a white t-shirt underneath, showing at the edges of his outerwear, and Rhiannon wears jeans and a T-Shirt with an image of Einstein on it, her mother’s necklace dangling as she sits.

CAPTION: The Atlas Building, headquarters of the Knights of Columbus.

RHI: Now, just like BEFORE, I want you to imagine that WHITE LIGHT coming down and filling every part of your BODY.

2/ On Donovan, his eyes closed, as he attempts to follow her instructions.

RHI (OFF PANEL): If you’re going to ASTRAL PROJECT, you need every inch of your body to be as RELAXED as possible, and that’s what we need to be concentrating on.

3/ On both of them, with a shot focused on their bodies, below the head. They sit with their palms open, fingers twitching slightly.

RHI: Feel your ESSENCE slipping free from your BODY, as the tingling feeling spreads THROUGHOUT.

DON: I can feel it.

4/ On Rhiannon, eyes closed.

RHI: Good.
RHI: Now feel it spreading down into your arms, your hands, your fingers, and follow it all the way down into your FEET.

5/ On Donovan, with his eyes still closed, as a halo of white light - laced like thick webbing - begins to spread out from around his head like a crown. Donovan peeks around him with one eye, keeping the other closed.

RHI (OFF PANEL): Imagine your spirit spreading out AROUND you, in a field of WHITE ENERGY. This is your MIND, stepping outside of your BODY for the FIRST TIME.

6/ Suddenly, all around him, Donovan sees the impressions of human figures. They gather around the two of them in clusters, some looking more or less normally human, some having the vague impression of angelic wings or demonic hunch backs. This, however, is barely visible – only appearing on the near-imperceptible edge of Donovan’s vision. It’s almost dream-like.

DON: Oh, GOD, Rhiannon….
DON: There are…there are PEOPLE all around us. Just STANDING there!

7/ On Rhiannon, with the images of the people standing all around her completely ignored, as she looks straight at Donovan without a hint of surprise.

RHI: They’re SPIRITS, Donovan. They’re around us all the time, whether you see them or NOT. Sometimes, when you get in the ZONE like this, you see them plain as day.
RHI: But it’s nothing to worry about. They can’t hurt you unless you give them permission by FEARING them. With the RAREST of exception.

8/ On Donovan, as Rhiannon reaches into the panel and the two of them put their hands together in mid-air, locking fingers as they push against each other for support. He closes his eyes again and focuses on her physical strength as they return to the process.

RHI: Now get back on TRACK, and remember the spreading field coming out from your CROWN, filling the air all around you…

DON: Alright, I’m back.

9/ Slightly above them, looking down on their figures, as they both show the glowing fields of light spreading outward from their heads like spider webs. Between them, in the air, their fields connect as their minds make contact. When the two fields touch each other, their colors change to a bright blue, crackling with energy.

PAGE TEN

1/ Long panel as the scene around them changes. Donovan now stands, wide eyed, in what appears to be a short hallway in a woodland cabin somewhere. The walls imply a house made of natural wooden logs, with the walls lined to the edges with pictures of Rhiannon’s family and friends, random memories captured here and there like framed portraits. There are many doors for a hallway so short, each one closed tight as Donovan passes them.

DON: Where ARE we?

2/ Long panel on Rhiannon, whose surroundings have ALSO changed, but into something different than Donovan’s. She walks down a similar hallway, but rather than a woodland cabin, the hallway is in what appears to be some sort of corporate office. The hallway is lined with doors to various private offices, displayed by the glass windows next to each closed door. In each office, people from various points of Donovan’s life mill about, doing whatever. An inspirational poster hangs on the wall with an image of a landscape and the word “BELIEVE” written beneath it. Rhiannon looks amused.

RHI: Well, LOCATION is pretty relative right now.
RHI: You’re in MY mind, and I’m in YOURS.

3/ Long panel slightly behind Donovan, as he scratches his head and watches Rhiannon from HIS point of view, showing that she is in the cabin instead of the corporate office. Everything he sees is that cabin, because he is in HER head, and everything SHE sees is the office, because she is in HIS head – though they continually stand side by side. She gestures toward the end of the hallway.

RHI: But presently we’re in each other’s UNCONSCIOUS, so there’s not a lot of IMPACT we’re going to HAVE, here.
RHI: At the end of this HALLWAY, though, is the door to CONSCIOUSNESS – the gateway to our respective IDENTITIES.

4/ Long panel, over Rhiannon’s shoulder as she looks at Donovan. He is in the corporate office, looking perplexed. Accepting her explanation, he reaches to open the non-descript door at the end of the hallway.

DON: Is that where we’re GOING?

RHI: You bet.
RHI: Now, get READY, ‘cause this is gonna be a trip.

DON: Alright. I’m ready.

PAGE ELEVEN

1/ Donovan is now seen, over Rhiannon’s shoulder, to be standing in a cavernous atrium inside what is now clearly an enormous corporate skyscraper, it’s ceiling shooting many stories upward as they stand alone in it’s light-filled depths. The polished floor reflects their images back at them, and immaculate sets of decorative stairwells draw their attention past a receptionist’s desk. Outside the building’s glass walls, we see a gleaming metropolis.

DON: Dear God.
DON: What IS this place?

RHI: From YOUR perspective? Hard to say. What are you seeing?

2/ Donovan spins around slightly, taking in his surroundings, and we see that he stands in a wide open swath of green and brown nature reserve, modeled after the Hocking Hills, near Columbus. They stand at the crest of what appears to be a dauntingly large valley carved in the landscape, with towering walls of different kinds of rock and waterfalls crashing down from the edges to the cavern floor. Light cascades down through the trees, dappling Donovan and Rhiannon with blotches of light and dark, as birds soar overhead and deer can be seen in the distant BG.

DON: NATURE.
DON: As far as I can SEE. It’s…it’s beautiful.

RHI: Hmm. Makes sense.
RHI: Especially given its COUNTERPOINT from MY point of view.

3/ Back inside the building’s atrium, Donovan turns to Rhiannon, confused.

DON: Meaning what?

RHI: Meaning that since I’m in YOUR head and you’re in MINE, we’re seeing visual representations of our WAKING interpretations of life.

4/ Donovan looks upward into the great expanse of trees that surround them, feeling the warmth of the sun on his face as he watches some birds drift overhead.

DON: And you view the world as one big harmonious collusion of man and NATURE.

RHI: For the most part, that’s true.

DON: And MY head?
DON: What do YOU see?

5/ Donovan and Rhiannon are now walking up one of the staircases in the skyscraper, the sun-filled lobby splayed out behind them as they ascend higher into the building. You can see the imaginary city behind them, its towers rocketing upward into the sky.

DON: Let me guess…

RHI: A Corporate SKYSCRAPER. Opposites ATTRACT, I guess.

DON: Ha.
DON: And what’s that say about ME?

6/ Nearly the same shot, only instead of the staircase in the skyscraper, they ascend a steep hill in the woods, following a staircase made of strategically arranged stones as they step upward into the wooded expanse beyond the cavern. A waterfall roars behind them, kicking up mist and sending birds scattering.

RHI: That you view man as a CONQUERING force? That you feel nature is here to be tamed? Humanity as an AGGRESSOR? Any of the ABOVE, I guess.
RHI: A division of WORLDS; the lives of MAN being cordoned off in these glimmering tributes to their SUPERIORITY while the NATURAL world stays separated, performing fantastic things that have LITTLE TO DO with the affairs of men. You know.

DON: But isn’t that TRUE?

7/ Long panel, on Donovan as he turns to face Rhiannon, the building returning as they reach the top of the stairs. We see a deep network of individual corporate offices with giant windows to the city outside, as the two of them arrive at the next floor.

RHI (OFF PANEL): I don’t believe so.

DON: And if we’re BOTH right?

PAGE TWELVE

1/ On Rhiannon, with the staircase descending down into the lobby behind her. She looks perplexed and amused, her face curving in a faint smile.

RHI: Now THERE’S an interesting thought.

DON (OFF PANEL): I’m serious.

RHI: So am I.

2/ Donovan plops down on a huge gray rock in the woods, now sitting high enough to be above Rhiannon’s head. She looks up at him as she swings lazily from a tree trunk. In the FG of the shot, we see a tiny spider crawl along the edge of a rock. Donovan chews at his fingernails while he assesses his thoughts.

DON: I mean, the longer I’m part of this TEAM, I really AM beginning to understand that maybe my world-view wasn’t as ACCURATE as I had always believed it to be…

RHI: But?

Don: I don’t wanna say BUT. I wanna say HOWEVER.

RHI: So, however?

DON: HOWEVER…who’s to say that you’re COMPLETELY right and I’m completely WRONG? Why does it have to be one or the other?

3/ Rhiannon looks up at him, now inside the corporate building. Instead of a rock, Donovan is sitting atop a large industrial printer, with photocopied pages of the bible printing out into its receptacle tray. Rhiannon hangs on the edge of a door frame, rather than swinging from a tree.

RHI: Okay.

DON: Okay…look. I just can’t accept the notion that there’s NO DIVISION between man and NATURE, or between man and the SUPERNATURAL.
DON: There IS a division, even if it’s not as impenetrable as I once thought.

RHI: Donovan –

4/ Rhiannon tiptoes carefully across the length of a fallen tree, a vast brown expanse crossing through the woods like a natural bridge, her arms held out for balance. Donovan watches from the exposed and shredded stump where the tree once stood, perched atop it like a pedestal.

RHI: You’ve been conditioned by a LIFETIME of Christian thinking to believe that there’s –

DON: - And YOU’VE been conditioned by a lifetime of studying ALTERNATIVE thought. I understand what you’re trying to TELL me, Rhiannon.
DON: You people ALL want to believe that mankind and the Divine are all, like, hunky-dory pals that send each other CHRISTMAS CARDS, and MAYBE – SOMEDAY – that will be true.
DON: But you can’t just dream for the future and hope that someone comes along and does the work for you.

5/ Back in the building, Rhiannon is instead tip-toeing across the length of a long commissary table, in the middle of an expansive room filled with similar tables for group dining. The room is filled with light from tall open windows, and Donovan watches her progress from his perch – not on a stump, but on the bench of the very same table she crosses so carefully. He gestures as he explains, waving his hands to two opposite sides.

RHI: So…you’re saying that the world’s not READY to break down those barriers yet.

DON: We’ve spent too long living with a DUALISTIC PHILOSOPHY. God is THERE and we are HERE and even if that’s NOT entirely TRUE, it can’t just be TAKEN AWAY in an instant.

RHI: I don’t disagree.

6/ Rhiannon is back in the woods, jumping down from the fallen tree as Donovan steps off his perch and down to the woodland floor. A lone stag watches in the BG, frozen in the depths of the woods.

DON: So where does that leave us?

RHI: The problem, Donovan, is not with your understanding of humanity’s current relationship with nature.
RHI: What you’re failing to realize is that mankind is CHANGING. You’re still thinking like a HUMAN.

DON: And what should I BE thinking like?

7/ Close on Rhiannon, framed by the light from the large commissary window.

RHI: It’s the second decade of the twenty-first century, Donovan.
RHI: It’s time to get POST-human.

PAGE THIRTEEN

1/ Cut to a Long panel on Beth, seen from shoulders up in the shower. She washes her hair. The water pours down around her, bouncing off in little explosions of mist, as her face contorts slightly, concealing her emotions as she struggles not to be upset. The shower curtain is a deep reddish color, and it tints the light around her.

CAPTION: Bexley.

2/ Long panel from Beth’s POV, as she looks down at her hand and fiddles with her golden wedding band, the water swirling around the drain behind her hand in the BG.

3/ Long panel, Close on Beth, as she tears up slightly, biting her lip to hold back a genuine flood of tears. The light changes as the shower curtain is pulled open, off panel.

LANDON (OFF PANEL): Hey, babe…

4/ Long panel, as Landon looks in through the shower curtain, seen from the shoulders up as he, too, has undressed to join her. He holds the curtain aside with his right hand as he looks in, concerned.

LANDON: Mind if I join you?

PAGE FOURTEEN

1/ Long panel, as Landon stands in the BG, behind Beth, pulling her hair back and continuing to wash it for her. She looks forward, her expression dead as she speaks with what she clearly feels is inevitability.

BETH: You’re going to GO, aren’t you?

LANDON: What?

2/ Long panel as Beth turns around, the water bouncing off of her, to face Landon. She is confrontational, but not angry. Landon is barely in the panel, the shot seen over his shoulder.

BETH: The BROTHERHOOD.
BETH: Before this is all over, you’re going to take the position. You’re going to cave to your MOTHER, aren’t you?

LANDON: Beth…I hadn’t thought about it much.
LANDON: I don’t want to, no.

3/ Long panel, as they stand in the shower, facing each other. Landon looks straight at Beth, but she refuses to look at him, opting instead to face downward at the shower floor.

BETH: Landon, you’re NOTHING if not predictable.
BETH: You have ALWAYS, from DAY ONE, chosen her over me. And you’re going to do it again. I can feel it.

LANDON: That’s not fair, and you know it.
LANDON: Are we in New York right now, with the Brotherhood? Or are we in COLUMBUS so you can play SUPERHERO with your EX-LOVER?

4/ Long panel as Beth pushes her soaking hair out of the way and finally makes real eye contact with Landon - who looks at her sternly, being as diplomatic as possible.

BETH: Just tell me this doesn’t end with us going back to that PLACE.

LANDON: Beth.
LANDON: Is it possible that I’ll go back for just a LITTLE while? To make sure that control falls into the right HANDS? Sure.

BETH: But you won’t STAY?

LANDON: I won’t stay.
LANDON: The only place I want to be is here, with you.

BETH: Promise?

LANDON: Promise.

PAGE FIFTEEN

1/ Cut back to Donovan and Rhiannon, still in each other’s heads. Currently, Rhiannon approaches the stag that once stood in the BG with her hands extended, holding out her cupped palms full of animal feed that has appeared from out of nowhere. Donovan looks on hesitantly as light splashes down through the trees around him.

RHI: Religion.
RHI: They way you USE it – the way people of ORGANIZED RELIGIONS use it – imagines a form of separation that simply isn’t THERE.

2/ In the office building now, Rhiannon is instead watering a plant that sits on a window ledge in some stranger’s office. She looks over at Donovan as she does, and he watches her watering the plant with interest.

RHI: You think of the DIVINE as the great OTHER; you think of the MIRACULOUS as the something ELSE.
RHI: But the truth is that you’re ONE with them. The world of GODS and the SUPERNATURAL isn’t some distant world, always just out of reach; it’s HERE, and it’s WITH you, at all TIMES.
RHI: It surrounds you. It’s IN you.

3/ Together, they walk through a small tunnel created by two enormous boulders leaning against each other, the woodland floor beneath them strewn with fallen leaves as the boulders cast shadow over them as they speak.

DON: But WHY, then, if DUALITY is a lie, can’t we SEE the other?
DON: Why is this crazy world of MAGIC that people like you and Milo inhabit not part of our everyday EXPERIENCE? Isn’t that, by definition, a DUALITY?

4/ Back in the office, they are instead found in a library, walking between two towering bookshelves that have fallen against each other. Many books have fallen from the shelves, and litter the floor beneath their feet in place of the scattered leaves.

RHI: The separation we experience day in and day out is only IMAGINARY, Donovan. It’s a matter of PERCEPTION.

5/ In the woods, they have reached a small clearing. In the center of the clearing is a tiny pond, surrounded by large rocks on which Rhiannon takes a seat. Light beams down into the clearing, reflecting off the water and revealing the hundreds of fish that swim to and fro inside.

RHI: If we could SEE it, right in front of us every DAY, would it be DIVINE? Would it even be SPECIAL?
RHI: Accessing the BEYOND isn’t supposed to be a GIVEN. It’s supposed to REQUIRE something of you. It’s like PRAYER, or TAROT cards: you can tell yourself there’s magic there all you want, but if you aren’t bringing something personal to the PLATE, if you aren’t COMMITTING to it on a DEEPLY spiritual level, all you’ve got are some silly words or some pretty trading cards.

6/ In the building, they sit in a small recreational area, with an ornate stone fountain surrounded by decorative stone benches, perfectly reflecting the clearing with the pond. Light shines down from the overhead skylight.

RHI: It’s not a TOURIST trap; it’s a MECCA.
RHI: The ONENESS of the UNIVERSE is shrouded from our perceptions because, if it WASN’T, we wouldn’t have anything to STRIVE for. We wouldn’t have anything to require our FOCUS.

7/ Slowly, they are making their way back to that original cavern, with its towering walls and thunderous waterfalls. They follow the winding path through the woods, and as they approach the cavern the dirt and underbrush begin to give way to the stone ledge that overlooks the basin. A rabbit goes bounding by, hopping into the bushes.

RHI: And it doesn’t stop THERE.
RHI: ALL duality is imagined. We believe there’s GOOD and EVIL, but YOU more than anyone can attest to the GREY SCALE that really functions as our moral BAROMETER. They’re all mixed up in each other. What would GOOD even BE without evil?

8/ Back inside the building, they wind their way back to the main atrium, approaching the balcony that overlooks it. The light from the gigantic front windows spills in from off panel, illuminating them. As they approach the edge of the balcony, a scrap piece of paper – a memo of some sort – flitters by exactly as the rabbit did. Donovan looks at Rhiannon, taking in what she’s had to say. He looks both at her and past her, thinking.

DON: If the YIN weren’t a neighbor to the YANG, would it be anything more than an amorphous white BLOB?

PAGE SIXTEEN

1/ Still in the building, Rhiannon grips the railing that overlooks the atrium, smiling over at Donovan as the sunlight pouring into the building illuminates her face.

RHI: EXACTLY.
RHI: Duality APPEARS to be a natural part of reality, NOT because the separation is really THERE, but because if we didn’t have the weight of OPPOSITES in place, there’d be no BALANCE.
RHI: Balance is everything. Without it, there’s only CHAOS.

2/ In the woods, Rhiannon is crouched at the edge of the stone shelf overlooking the cavern, as waterfalls cascade downward in the BG. Bent over, she picks a single flower from the edge of the stone shelf, its bright green stem emerging from a spot of soil in the rock face.

RHI: The night only exists so that the day can REST, and the day exists only to keep the mysteries of the night MYSTERIOUS.

3/ Donovan begins to lead the way down the decorative stairway in the office building, the atrium sprawled out before him as he descends. He gestures excitedly as he speaks, looking wide eyed at Rhiannon.

DON: So it’s not a duality OR a non-duality.
DON: It’s a NON-DUAL DUALITY. A unified existence that masquerades as a divisive existence, as a means of keeping the universe in balance. As a means of bringing ORDER to what would otherwise be CHAOS.

4/ Rhiannon smiles back at him as they walk down the natural stone stairway in the woods, approaching the basin of the cavern. A waterfall passes in the FG, as Donovan and Rhiannon emerge from behind it.

RHI: Now you’re getting it. Even the concepts of DUALITY and NON-DUALITY aren’t really opposites. They’re all part of the same equation, just like everything else.
RHI: Everything in the universe is all wrapped up in everything else, because it HAS to be for anything to have real meaning – but if we could really SEE things that way, our own individual pursuits would have no meaning.
RHI: They’re redundant systems, all in place to maintain BALANCE.

5/ Standing in the atrium, where their journey began, Donovan turns to face Rhiannon. He is concerned, struggling with the concepts that are decidedly more esoteric than he’s usually comfortable with.

DON: But…
DON: If duality is only a matter of perception – just a balancing act to keep the universe running smoothly – and GOOD and EVIL don’t really exist; NIGHT and DAY don’t really exist; DOGMA and ENLIGHTENMENT don’t really exist…

DON: Then what IS there?

6/ Rhiannon and Donovan are seen from a slight distance, in the cavern in the woods, as Rhiannon steps toward Donovan and takes his hands in hers. She looks up at him and grins as a flock of birds takes flight from the ground behind them, scattering up into the air as the mist from the adjacent waterfall saturates the scene with bright dew, caught in the light of the overhead sun.

RHI: Life, Donovan.
RHI: There’s life.

PAGE SEVENTEEN

1/ Donovan looks down at Rhiannon, standing in the atrium. He smiles slightly; amused by the new thought games he’s learning to play with her.

DON: So…
DON: In the NEW WORLD, when things start to REALLY change – we can’t just live in your world or MINE.

2/ Rhiannon smiles back up at him, gripping his hands more tightly. In the light that shines down into the cavern, her mother’s necklace shines like a beacon.

RHI: We have to find a way to bring our philosophies TOGETHER.

3/ Donovan breaks the eye contact, staring off through the big windows into the metropolis outside his skyscraper. Rhiannon follows his gaze, resting her head against his chest momentarily.

DON: Heh.
DON: Donovan and Rhiannon: Ambassadors to the New Paradigm.

4/ Rhiannon, back in the woods, turns to face him. She grins jokingly as she reaches up to his face, drifting her fingers down over his eyes to indicate that he should close them. She continues to hold hands with him, with her free hand.

RHI: That’s us.
RHI: Now can you do something for me?

RHI: I want you to close your eyes…and do a little AMBASSADING.

5/ Donovan stands in the atrium, peeking down at her through one opened eye and grinning like a schoolboy. He holds her hand tightly.

DON: You know that’s not a WORD, right?

6/ Rhiannon grins back, reaching up to his face to force the open eye shut. She laughs slightly, but is also eager to get to the point she’s been striving toward the entire time.

RHI: Ha! Yes, I’m aware.

7/ Donovan closes both his eyes and points his head upward, into the towering expanse of the atrium, as Rhiannon does the same, staring straight forward. She pulls a little closer, gripping both his hands tightly, as the sun shines brightly through the windows, illuminating them in an almost divine light.

DON: Alright. But I warn you – you’ve never seen someone AMBASS the way I can ambass. It’s pretty impressive.

8/ Close on Donovan’s tightly closed eyes, as the scene around him appears to have become the woods, but we can’t see anything but a glimpse of greenery. His lips part slightly as he relaxes.

RHI (OFF PANEL): Okay, now Donovan?
RHI: Open your eyes.

PAGE EIGHTEEN

1/ Tall panel, from a distance, as we reveal Donovan and Rhiannon. They float together, as though they are dancing, high above the ground. Their surroundings are the imagery from both of their minds combined: Donovan’s corporate skyscraper has now relocated from the metropolis to the center of Rhiannon’s cavern, meeting the ground in the midst of a deep basin of water, the waves crashing against its glass exterior. Vines and creepers crawl over the surface of the tower, not as though nature has reclaimed the building, but as though nature and the building have become incorporated with one another. Deer gather around the edge of the water, nibbling on the leaves that protrude from long branches attached to the building’s creepers. The sun glints dramatically off the side of the building, shining through a flock of birds that soar across the scene. The waterfall crashes nearby, the mist spraying against the side of the building and coating it in a layer of moisture as Donovan and Rhiannon float in midair, near the waterfall’s edge on the side of the cliff. As they hover together they pull tighter, dancing like a teen couple at prom, as they realize what has happened.

DON: Oh, my God.

2/ On the two of them, their faces close to each other, as they dance in the air. They look into each other’s eyes, Donovan awed and Rhiannon pleased. Her arms hang romantically around his shoulders as they stare at each other, drawing closer.

RHI: Definitely an ‘Oh, my God,” moment.

3/ They pull even closer, their lips parting slightly as they move toward an inevitable kiss. They tilt their heads to the side, to better accommodate the unavoidable.

DON: Rhiannon…

4/ They are now less than an inch away from kissing, and we pull in close to their lips as they drive inexorably toward each other.

RHI: Don’t.
RHI: Say.
RHI: Another.
RHI: Word.

5/ Long panel as we flash back to reality, and Donovan and Rhiannon still sit in their original position on the roof of the Atlas Building. The psychic trip is over, and the moment is temporarily broken. They even still sit in the position we left them in, both sitting Indian style with their hands held out against one another, clasped tightly as they both look down at the ground, eyes closed. Rhiannon’s mother’s ring hangs down from her neck, appearing to glow white hot.

6/ Close on Donovan, looking down at the ground, as he apprehensively pops open a single eye, realizing that the trip has come to an end.

DON: Uh…

7/ On Rhiannon, looking up at him and grinning with excitement as the two continue to hold their position. There’s a hint of flirtatiousness in her smile. The moment they shared will clearly not be forgotten.

RHI: Yeah.
RHI: So, that was pretty awesome.

PAGE NINETEEN

1/ Cut back to the hospital, as Chris sits up in bed and addresses Milo.
CHRIS: So, tell me about him.

2/ Close on Milo, looking sheepish as he tries his best to be comfortable with this conversation. He looks like he could cry at any moment.

MILO: He’s cute.
MILO: He’s TALL, so THAT bodes well.

MILO: (small font) He’s a jogger.

3/ On Chris, smiling with amusement as he maintains a friendly disposition.

CHRIS: Ooh, so I bet he’s in great shape!

4/ Milo gets a little more comfortable, letting his arms relax a bit more. He smiles and laughs, forgetting the tension in the moment, if only for a second.

MILO: He is.
MILO: I can’t wait to see him naked.

5/ Close on Chris, concerned.

CHRIS: Have you TOLD him yet?

6/ Milo freezes, his jovial manner gone.

MILO: That I’m HIV positive?
MILO: No. But I will. I promise.

7/ Chris lays back down, exhaling as he does. He gives an awkward smile, trying to move past the tough question he just asked.

CHRIS: Hell, Milo.
CHRIS: Sounds like things are off to a pretty good start.

8/ On Milo, as he looks down at the ground, serious.

MILO: They are.

9/ Close on Milo, as he looks up and makes eye contact with Chris.

MILO: This is weird.

PAGE TWENTY

1/ Chris looks off into space, staring at the ceiling.
CHRIS: I agree.
CHRIS: But I’m trying. Am I doing well?

2/ Milo laughs uncomfortably as a single tear rolls down his cheek. He adjusts his glasses, looking away from Chris for a moment.

MILO: Ha. Spectacular, Chris.

3/ Long panel as Chris attempts to get up from the hospital bed, not gracefully. Milo steps back in horror, worried that Chris is hurting himself.

CHRIS: I wanna do something.
CHRIS: Help me up.

MILO: Jesus, Chris, what are you DOING?

4/ Chris looks up at Milo (and at us), extending his hand to ask for help in getting up. He looks dead serious, not giving Milo any option but to help.

CHRIS: Shut up.
CHRIS: And help me out of this godforsaken bed.

5/ Milo pulls Chris out of the bed, looking as though he feels terrible about this entire ordeal. Chris responds sternly, refusing to give in to Milo’s insecurities.

MILO: You’re not supposed to DO this, Chris.
MILO: You could get HURT.

CHRIS: I’m DYING, Milo. How much damage could I possibly do?

6/ Chris is now standing, and he approaches Milo, holding his hands out and locking fingers with Milo as he looks momentarily away from him. Milo stares at him, berating him for being morbid.

MILO: I wish you wouldn’t say things like that.

7/ The two of them pull together into a hug, swaying slightly as they bury their heads in each other’s shoulders – behaving like something between former lovers and old friends. Chris wraps his arms tightly around Milo, the IV cords draping across the room.

CHRIS: The truth sucks ass sometimes.

PAGE TWENTY-ONE

1/ Long panel as the two of them stand there, swaying back and forth together in the abandoned hospital bedroom. Chris’s bed is a shamble behind them, the sheets a mess.
CHRIS: Do your MIND thing to the RADIO, Milo.

2/ On Milo, looking over Chris’s shoulder as his eyes glow tiffany blue in psychic concentration. A tear rolls down his cheek, and his lip quivers as he tries not a cry.

3/ A radio sits on a table on the other side of the room, and it lights up on Milo’s command, flipping through stations until it finds a song they like. The radio settles, at Chris’s suggestion, on the song “Shoot The Moon,” by Nora Jones.

RADIO: Summer days are gone too soon
Shoot the moon, miss completely
Now you’re left to face the gloom
Empty room, once smelled sweetly

CHRIS (OFF PANEL): That’s good. Leave it there.

4/ Long panel as they dance together, keeping their heads in each other’s shoulders.

CHRIS: I didn’t know what love WAS until I met you, Elliot.
CHRIS: What kind of person would I be if I thought that love didn’t deserve to be shared with the living?

MILO: Chris…

5/ Pull in as they remove their heads from each other’s shoulders, instead pressing their foreheads together as they speak. Milo closes his eyes and points his face toward the floor as Chris stares at his chest. Chris’s arms remain wrapped around Milo’s shoulders.

CHRIS: Milo.
CHRIS: It’s time for you to go to work.

CHRIS: And when you have your date? I want you to tell me all about it. Okay?

6/ They pull away from each other, Milo wiping his nose on his wrist as Chris looks at him seriously. Milo tries to smile, his eyes red from tears. Chris rubs Milo’s arm gently.

MILO: ::sniff::
MILO: Okay.

PAGE TWENTY-TWO

1/ Cut to a Long Panel as Andrew makes his way through the Arena District, the restaurant and bar district adjacent to the Nationwide Arena, near downtown. The area is bustling, as an outdoor comic book convention floods its streets, clogging the roads with hundreds of fanboys dressed as Star Trek characters, Marvel Superheroes, TV show stars, etc. Andrew speaks on his phone to Beth, talking nervously as he anticipates what he knows is coming. It is mid afternoon, and Andrew’s backpack bounces excitedly as he pushes through the crowd.

CAPTION: The Arena District, Downtown.

ANDREW: Yeah, I’m in the ARENA DISTRICT.
ANDREW: I think it’s where they’re going to STRIKE.
ANDREW: Well, there’s a big outdoor COMIC BOOK CONVENTION. There’s a lot of people down here right now.

2/ In the house in Bexley, Beth speaks to Andrew on the phone. She stands in her living room with a towel wrapped around her, having just left the shower. Her hair hangs limply on her shoulders, completely soaked.

BETH: And Magda said they were going to strike the most populated area in town today?

3/ Andrew dodges people in the crowd, looking irritated as he is continually being bumped into by people in Klingon battle gear.

ANDREW: Yeah, and given that it’s WEDNESDAY, there’s not a lot going ON anywhere else in TOWN.
ANDREW: You should see this, though. I’ve never seen so many people dressed as ROMULANS in one place before.

4/ Beth brushes her wet hair out of her face as she talks.

ANDREW (through phone): Donovan would be LOVING this.

BETH: Okay, well…we just got out of the SHOWER, so it’s gonna take us a bit to get dressed and get all the way UP there. Sit tight.

5/ Distant shot of Andrew, standing in the midst of the teeming throng. A congregation has gathered around the huge stone and brick archway, formerly the façade from a train station and now a decorative landmark in the center of the Arena District. Vendor Booths line the strip, with people hocking merchandise and artists signing comics.

ANDREW: Everything looks pretty copacetic for now.
ANDREW: Just try not to take TOO long.

6/ Beth looks at the phone as she presses the button to hang up.

BETH: See you in a bit.

7/ Andrew hangs up his phone and turns to face the crowd, taking in the insanity of the hustle and bustle. His eyes widen a little as he faces the inordinate amount of fanboys, and he grimaces as he slides his fingers under the straps of his backpack.
ANDREW: Alright. This should be interesting.

PAGE TWENTY-THREE

1/ Andrew approaches two men, one dressed as a Klingon and one dressed as Elijah Snow from the series PLANETARY. They stand side by side at a vendor booth, turning to face Andrew as he breaks into their conversation.

ANDREW: Excuse me. I need to talk to whoever’s in CHARGE, here.

2/ On the Klingon, as he raises a combative eyebrow, remaining in character.

KLINGON: Do you refer to Chancellor Gowron, or to Iron Man?
KLINGON: Both are well respected amongst these many ranks.

3/ On Andrew, trying to remain patient.

ANDREW: No, hey, yeah, I get it.
ANDREW: But I’m, like, dead serious. Bad stuff is about to happen, here.

4/ The Klingon and Elijah perk up, getting excited by what seems to be a game.

KLINGON: Is the adversary GEPPETTO leading his forces in from the HOMELANDS, to strike FABLETOWN?

ELIJAH: Or are the DAUGHTERS OF THE AMAZON coming, in search of the LAST MAN?

5/ Andrew gestures intensely, no longer amused with the game. As he tries to get them to understand the gravity of the situation, what appears to be a man dressed as a Zombie comes waddling up to the group.

ANDREW: Seriously, guys!
ANDREW: Everyone HERE is in very real DANGER!

6/ The fanboys turn to face the Zombie as Andrew begins to step nervously backward. The one dressed as Elijah Snow even grabs part of the gore on the Zombie’s side, admiring how life-like it is.

ELIJAH: Hey, cool costume, man.

KLINGON: You a big Robert Kirkman fan?

ZOMBIE: Ugh.

7/ The Zombie suddenly attacks, sinking his teeth into Elijah’s shoulder and sending blood squirting into the air. Elijah screams as the Klingon starts to back away in horror.

ELIJAH: AHH! He’s BITING ME!!!

KLINGON: AHHH!

8/ Andrew squeezes his eyes shut tight as he rubs the bridge of his nose in disbelief, taking an exasperated moment to himself before deciding to leap into action.

ANDREW: That should do the trick.

PAGE TWENTY-FOUR

1/ Long panel, Bird’s Eye-View from above the archway, as the crowd goes into immediate panic. People scream and thrash, pushing over each other to escape, as everyone realizes what has happened.

CROWD: Ahhhh!

CROWD: RUN!!!

CROWD: Get out of my way!

2/ On Andrew, freaking out as he realizes the situation is spiraling out of control.

ANDREW: Crap, crap, crap!
ANDREW: It’s all happening too FAST!

3/ He drops to the ground, tossing his backpack down and opening it up. Sticking out of the bag are two machetes, and from inside he pulls a handgun and checks to make sure it is loaded and ready. Behind him, more Zombies filter into the crowd.

ANDREW: Come on, come ON!

4/ Behind Andrew, as two Zombies attempt to sneak up on him from behind. He tucks the gun into the back of his pants and pulls a second one from the bag, unaware for the moment that the Zombies are on the approach.

ZOMBIE 1: Arrgghh!

5/ Small panel as Andrew reaches into the bag and slides out one of the machetes.

6/ Andrew spins in his place, crouched on the ground, and shoves the machete into the face of one of the approaching Zombies, sending gore flying into the panel.

ANDREW: BACK OFF!

7/ Long panel as Andrew turns to face the archway, wielding the two machetes like duel swords. Making their way down the grassy lawn behind the archway, walking like royalty greeting their court, is a group of about 10 werewolves, led by Magda. Around the group of werewolves is a cluster of Zombies, and more Zombies spread out around them in all directions, heading off into the crowd. On the building tops in the BG, we can see even more werewolves bearing down on the Arena District, every one of them in wolf form and poised to kill. Andrew tries his best to remain steady.

ANDREW: Sweet Jesus.

PAGE TWENTY-FIVE

1/ FULL PAGE SPLASH as Andrew stands alone on the grassy court, his machetes hanging at his sides and his guns sticking out from the back of his pants as he looks upward, staring in awe at the towering height of Magda, who stands over him with teeth bared. Saliva drips slightly from her jaws as she stares down at him, her entourage of werewolves barking and swatting at the air, chomping at the bit to plunge into the crowd and satiate their hunger.


ANDREW: Some BACKUP would be really great, right about now…


CAPTION: Next – Like a Bell Through the Night!