Knights Of Columbus #14

Issue Fourteen: “Missing Link, part 2: Dreamcatcher”

PAGE ONE

“Previously” page.

PAGE TWO

1/ Long Panel as we face Milo, sitting on one side of a doctor’s desk and staring past us, at the off-panel doctor reading him the important information regarding Chris’s death. Milo has clearly been crying, and is still fairly emotional – though he’s pulled himself together pretty well.

DOC (OFF PANEL): …at approximately 12:30 in the afternoon on June 15th, 2012, of complications from the AIDS VIRUS.

MILO: Yes, I know.
MILO: Do we…do we have to do this?

2/ Long panel on the doctor, looking sympathetically at Milo and hoping to comfort him in any small way – though he’s clearly professionally detached.

DOC: I’m sorry, Mr. Woodyard.
DOC: I wish there was something we could DO to help ease the PAIN of your loss, but if it’s any consolation, the nurses would like you to know that he spoke of you frequently and ADMIRINGLY.

3/ Milo looks down at the floor, fidgeting uncomfortably. He closes his eyes and looks resigned, thanking the doctor as genuinely as he can.

MILO: Thank you.

PAGE THREE

1/ Long panel as the doctor turns away from the stack of paperwork on his desk and produces a small brown package, wrapped in a neat square of butcher paper. He looks at Milo across the desk as he speaks, pulling the package from a desk drawer.

DOC: Now, funeral arrangements will have to be made, and there is a WILL to be read, but CHRIS left specific instructions for a particular gift to be left to YOU upon the moment of his…
DOC: …PASSING.

2/ Long panel, as the brown package passes from the doctor’s hand to Milo’s, across the desk. It is wrapped neatly and sealed with a red wax seal, holding the folds together in a tight crease.
MILO (OFF PANEL): He did? I don’t…

3/ Long panel as Milo scraps the packaging on the desk and holds up its contents: a woven Dreamcatcher. It dangles from his hand and spins in the air, a small woven tapestry of colorful yarns around a small circular centerpiece, its excess yarn hanging down in streamers from the center circle and swaying in the space above Milo’s outstretched hand as he appraises it. He looks at it quizzically.

DOC (OFF PANEL): Do you know what it IS?

MILO: Yeah.
MILO: It’s a DREAMCATCHER.

PAGE FOUR

1/ THIS IS A FULL PAGE SPLASH featuring the issue’s TITLE, CREDITS and IDICIA as we CUT TO Andrew and Mark, standing in the dusty clearing of the Akashi Village, surround by angry looking Bakii with automatic weapons. The two men stand back to back, looking at the circle of assailants around them, and they speak to each other over their shoulders, quickly and nervously. They hold the psionic shields they were given by the tribe leader, Denabe – who currently stands back to back with them as well, though he is obscured mostly from view behind them as he faces the other side of the clearing. In short, terse sentences, the two men confer.

CAPTION: Somewhere in South America.

NARR (ANDREW): I don’t know about YOU, but I’m a CONTROL person.

ANDREW: Mark?

MARK: Yeah?

ANDREW: What’s your POWER again?

NARR: I wouldn’t go so far as to say control FREAK, but I’m definitely not wild about UNPREDICTABLE ELEMENTS.

MARK: I’m preternaturally PERSUASIVE.

ANDREW: Persuasive?

MARK: Think JEDI MIND TRICK.

ANDREW: I see. Not much USE, here.

MARK: Yeah. Hopin’ you’ve got some IDEAS.
ANDREW: Great. Thanks.

NARR: The problem is, they’re tough to PLAN AROUND – and as you’ve probably figured OUT by now, I’m a PLANNER.

PAGE FIVE

1/ Long panel as the two men continue their huddle, back to back – but this time, we’re much closer, only on their heads as they confer. Denabe stays in the BG. Andrew gestures slightly to the Bakii around them with nods of his head.

ANDREW: Their GUNS. Think you can DISARM them?

MARK: Probably, in a PINCH.

ANDREW: Can you do it in 45 SECONDS?

MARK: Jesus.

ANDREW: CAN you?

MARK: Yeah, I think so.

ANDREW: GOOD.

2/ Andrew’s POV as he looks down at his feet, at a small rock between his shoes. From the edge of the rock, we can visually see the calculations that Andrew is doing in his head – sticking off the rock in different directions as though the numbers are actually floating in air.

ANDREW: Alright.
ANDREW: Here goes nothin’.

3/ LOW ANGLE as Andrew abruptly digs his foot into the dirt by the rock, striking it at just the right angle to send the rock flying off through the air, still surrounded by complicated equations. Dirt flies.

SOUND EFFECT: CHUNT

NARR: When faced by something that’s totally out of your control, the best you can hope to do is ISOLATE and CONTAIN.

4/ The rock strikes one of the Akashi’s psionically enhanced slate shields, causing a little pink flash as the kinetic energy strikes the psychic shielding. The rock ricochets off in the opposite direction, flying back out of the panel. The equations in Andrew’s head now highlight the point of impact on the shield, the second step in his plan.
SOUND EFFECT: Fzzak

5/ Flying across the clearing, the rock now strikes one of the Bakii in the head, causing him to rock backward in pain. The rock ricochets once again, flying away to its next target as the injured tribesman recoils from the shock. The equations now stem from the point of impact on the Bakii’s head, representing step three in the calculation.

SOUND EFFECT: THUNK

6/ Long panel as we see the clearing in panorama, the rock’s course charted in ricochets as it bounces its way around the clearing from various psionic shields to various struck heads, each point of impact showing its own set of Andrew’s equations. Andrew and Mark leap into action at Andrew’s command, Mark leaping toward the fallen gun of one of the injured Bakii. The rock strikes one Bakii in the face, causing him to rock backward and fire his gun blindly into the air.

ANDREW: GO!

SOUND EFFECT (gun): CHOOM

NARR: But what do you do when that CHAOTIC ELEMENT is too big to SIPHON AWAY into that little SAFE PLACE you’ve developed for the UNCONTROLLABLE?

PAGE SIX

1/ BIRD’S EYE VIEW as the bullet flies through the air, toward us as the man with the gun topples in the BG, his gun smoking and his head throbbing. The bullet, on its way out of the panel, bisects the thin organic line holding a coconut to its tree, causing the coconut to begin its descent toward the ground. The calculations now emanate from the coconut, the next step in Andrew’s equations.

SOUND EFFECT: SNAP!

2/ The coconut falls from above into Andrew’s hand, and in one fluid motion he hurls it into the huddled Bakii – not even pausing to acknowledge that it’s actually landed in his hand. He already knew it would. The calculations still emanate from the coconut.

NARR: Well, I guess you have to DEAL with it, any way you CAN.

3/ Mark combat rolls until he’s right on top of one of the Bakii’s guns, rapidly dropping the magazine and disarming the gun, already looking to the next gun on his list – which lays on the ground right in the front of the panel.

MARK: Come on, come ON!

4/ The coconut bounces its way between the heads of two Bakii tribesmen, continuing off in another direction, flying out of the panel. The equations emanate from their injured heads as they take a fall, their eyes rolling back in their skulls.

SOUND EFFECT: Thunk! Thunk!

NARR: Like constantly coming up with new and INTERESTING uses for this QUANTITATIVE power I’ve had for so LONG.

5/ Andrew leaps toward one of the Bakii, doing a back flip and landing in a handstand, his legs flying up into the air and striking the Bakii in the face, sending him crashing to the dusty ground.

SOUND EFFECT: PUNT

NARR: And then sitting back and hoping it all WORKS OUT.

6/ On his feet again, Andrew spins and hits another Bakii in the face with the back of his fist, knocking a wooden staff free from the tribesman’s hands and catching it mid-air with his own free hand. In the BG, the coconut continues to ricochet, equations sprouting from all its targets as it bounces wildly around the clearing.

SOUND EFFECT: THOK!

7/ Mark runs across the clearing, keeping low to avoid the flying coconut, disarming another gun as he dodges and ducks.

8/ Long panel as Andrew and Mark stand victorious in the middle of the clearing, a gathering of aching Bakii lying in heaps on the ground all around them. Mark holds the last gun, brandishing it like a child playing SWAT, and Andrew stands with his stolen staff at his waist, catching his breath. In the BG, Denabe and his bodyguards lay on the ground, looking up at Mark and Andrew in surprise.

MARK: Okay…
MARK: …that was AWESOME.

PAGE SEVEN

1/ Long Panel as we CUT TO the Geblan’s house in Harrison West. We find Dianne and Will Geblan, sitting on their couch and facing the other side of the room as they talk to Donovan and Rhiannon, who are currently off panel. Dianne leans forward, pleading. Will leans back, looking uncomfortably at Donovan and Rhiannon.

CAPTION: Harrison West. Will and Dianne Geblan’s home.

DIANNE: So, tell us…can you FIX him?
2/ On Donovan and Rhiannon as Rhi looks taken aback by the question. They sit on a loveseat opposite the sofa in the Geblans’ living room, side by side.

RHI: Mrs. Geblan...
RHI: Your son doesn’t need to be FIXED.

3/ On Donovan, continuing Rhiannon’s thought, but cautiously.

DON: He has an EXTRAORDINARY ability, like nothing we’ve ever SEEN.

4/ Long panel as both Donovan and Rhiannon expound on their findings, Rhiannon gesturing wide as she praises Eddie’s unusual gifts. Donovan, sensing the displeasure coming from the Geblans and not feeling as comfortable with pushing their luck as Rhiannon is, remains less forceful than Rhiannon.

RHI: He seems to be able to TRANSMUTE ectoplasmic energy into solid MATTER. RHI: He’s so naturally adept at the range of PSYCHIC ABILITY that he’s capable of CROSS-PLANAR ALCHEMY. It’s among the RAREST of mental abilities that people have been known to have, and he’s got it in SPADES.

DON: It really IS amazing.

PAGE EIGHT

1/ Will Geblan leans forward, getting angry.

WILL: Wait…WHAT?
WILL: This is NOT what we asked you HERE for.

2/ Rhiannon looks frustrated, trying to make them understand and growing offended by the tone they’ve taken in regard to their son’s abilities.

RHI: But…I’m afraid you don’t fully UNDERSTAND –

3/ Dianne gets indignant, crossing her arms and glaring at Rhiannon from across the room. She pulls her hair out of her eyes and plants her feet.

DIANNE: No, ma’am – YOU don’t seem to understand.
DIANNE: Will and I asked you here to make this go AWAY.

4/ Rhiannon leans forward as if about to speak, but Donovan places a hand in front of her chest to stop her. He looks at the Geblans and speaks carefully, gently – trying to get through to them without resorting to the yelling he knows Rhiannon wants to do.

DON: Mr. and Mrs. Geblan…your son is GIFTED.

5/ On the Geblans, as Will glowers at Donovan, speaking to him as if he were a total idiot. At his side, Dianne keeps her arms indignantly crossed, glaring at Rhiannon unflinchingly.

WILL: No, he’s NOT.
WILL: He’s CURSED. And you people were supposed to put an END to this ridiculous little FANTASY of his.

PAGE NINE

1/ Long panel as we CUT TO the Short North, where we find Milo walking up the street and talking to Beth on his cell phone. He looks far better composed than he did earlier, an is in fact dealing with the Chris situation rather well – even if he is suffering from a little avoidance. He gestures as he speaks, defensively.

CAPTION: The Short North.

MILO: Well, I don’t know what to SAY.
MILO: I’m SORRY that he’s ANGRY, Beth. And I’m especially sorry that he’s taking it out on YOU, in Andrew’s absence.

MILO: But I still stand by the things I said.

2/ CUT TO Beth, standing in the office at the Atlas Building, rubbing the bridge of her nose exhaustedly as she talks to Milo on the office’s land line.

BETH: Just tell me you’re not planning on starting a REVOLUTION.

3/ CUT TO the stairwell of Milo’s apartment building as he opens the door and enters. We look down on him from above as he makes his way up the stairs.

MILO: Ha.
MILO: Not yet, anyway.

4/ CUT BACK to Beth as she puts her fingers between the blinds in the office windows, looking out into the street below as she talks. She raises a curious eyebrow.

BETH: Very funny, Milo.
BETH: Are you okay? You sound a little OUT OF IT.

5/ CUT BACK to Milo, turning the key in his apartment door as he dismissively ends the conversation with Beth. His body language visibly stiffens when she asks him how he’s doing, and he abruptly wraps up the phone call.

MILO: I’ll talk to you LATER, Beth.
MILO: Have a better day.
PAGE TEN

1/ Milo enters the apartment, swinging the door open. Dax, the cat, greets him by rubbing up against his leg as he enters. Milo looks around, calling out for David.

MILO: Davy?
MILO: You home?

2/ POV as Milo looks down at the back of the small couch and finds David’s cell phone, accidentally left behind and open to the most recent text message he received.

MILO: Well, that explains why you haven’t been answering your PHONE all day, goofy.

3/ Close on the phone as Milo reaches out to grab it.

MILO: Left it open on a TEXT MESSAGE and everything.

4/ Milo picks up the phone, looking at the open screen. His eyebrow shoots up.

MILO: What’ve we got HERE?

5/ Close on the phone’s screen, where we can read the last text message that was left up on the phone by accident. It reads INBOX – FROM: JOSH , and the body reads “I’LL B RIGHT OVER TO PICK U UP.”

6/ Close on Milo, his brow creasing in irritation.

MILO: Excuse me?

7/ On the phone, we see the text message sent right before: SENT MESSAGES – “YEAH, HE’S GONE NOW”

8/ Closer on the phone, we see the first text in the conversation: FROM: JOSH, with a body that reads “DID MILO LEAVE 4 THE HSPTL YET?”

PAGE ELEVEN

1/ CUT TO Beth, still standing in the office, picking up the phone and dialing another number. She paces as she waits for the call to connect.

CAPTION: The Atlas Building, downtown. Knights of Columbus Headquarters.

BETH: Come on, come on.
BETH: Pick up the phone.

2/ CUT TO Andrew, answering his cell phone and looking a bit frazzled from the fight he’s just been involved in. He looks the slightest bit annoyed, having seen that there were several missed calls in a row from Beth.

ANDREW: Beth?

BETH (thru phone): Oh, thank GOD. You ANSWERED.

3/ Long panel as Andrew settles into the phone conversation. Behind him, Mark helps Denabe and the others as they tie up the Bakii, bustling around the clearing with ropes and weapons. Mark looks over his shoulder at Andrew, noticing that he’s on the phone.

ANDREW: Yeah, I wasn’t IGNORING you.
ANDREW: We just ran into a bit of TROUBLE down here.

4/ CUT BACK to Beth, looking at the phone with concern.

BETH: Uh oh. Everything okay now?

ANDREW (thru phone): Should be fine. What’s up?

5/ CUT BACK to Andrew, listening as Beth speaks.

BETH (thru phone): It’s PALMER.
BETH: He’s pretty worked up about Milo’s little TV BROADCAST.

ANDREW: I thought we took CARE of that already.

PAGE TWELVE

1/ BACK TO BETH, as she walks from the window over to the conference table, talking as she paces. She switches ears with the phone as she glances through a file folder that was sitting on the table.

BETH: I thought so, too. He disagrees.

2/ CUT BACK to Andrew. He looks annoyed by this.

ANDREW: Huh. Well, is he gonna come DOWN on us about it?

3/ Long panel as we CUT BACK to Beth, tossing the file folder off to the side and taking a seat at the table, sulking her shoulders as she discusses the unhappy news.

BETH: At the MOMENT, no.
BETH: But he’s WATCHING us. I would recommend no more field trips to SOUTH AMERICA on the company EXPENSE ACCOUNT.
4/ CUT BACK to Andrew, standing with a hand on his hip as Mark and Denabe approach in the BG. He looks off into the distance.

ANDREW: You saying I should come home?

5/ CUT BACK to Beth, shaking her head.

BETH: No, no. Finish what you’re doing down there…
BETH: …but I would get back as SOON as POSSIBLE.

PAGE THIRTEEN

1/ CUT TO Denabe, looking diplomatic but uncomfortable, hoping that the Americans will leave without being forced.

DENABE: Thank you for your assistance.
DENABE: It was…INVALUABLE.

2/ He turns, walking away from Andrew and Mark. They follow, irritated with his dismissal. He leads them further into the camp.

DENABE: But I still must ask you to LEAVE.
DENABE: This conflict has escalated beyond our CONTROL. I need to MEDITATE on the matter.

3/ On Andrew, in hot pursuit and looking pissed.

ANDREW: Now wait just a damn minute!
ANDREW: We just saved your asses!

4/ Mark grabs Denabe’s arm, spinning him around to make eye contact. He looks at the Shaman beseechingly.

MARK: Denabe…he’s RIGHT.
MARK: I don’t understand why you’re ACTING like this.

5/ Long panel as Denabe looks at Mark, apology in his eyes. He hesitates.

DENABE: …you are a good FRIEND, Mark Shepard.
DENABE: I apologize if I seem…UNGRATEFUL. Come with me.

PAGE FOURTEEN

1/ CUT TO a large, dark, cavernous room as Denabe leads the two men down a long stairwell into an underground chamber. We see them from a distance, indicating the vast size of the room. Denabe talks as they journey downward.
DENABE: There.
DENABE: We will be UNDISTURBED in this place.

2/ Andrew looks around, inquisitive.

ANDREW: Where ARE we?

3/ No longer descending the stairwell, Denabe holds his hand up to a wall mounted torch, making flame appear from out of nowhere as the torch busts into crackling life. He is lit orange by the light from the fire.

DENABE: Perhaps THIS will be of some assistance.

4/ Suddenly, torches around the room burst into flame, casting the cavern into a stark light. We finally see that they are in a vast temple, replete with towering stone pillars. The room is lit orange by the torches, and we see, against the far wall, framed by the pillars, the object of worship. It is what appears to be a tall stone door, the height of at least two men, with a small set of stairs leading up to its hard rock surface. There is not visible way to open the door, but covering its entire surface is the carved image of a man, arms spread wide like Christ. On his chest is an intricate carving of a phoenix and at his midriff is a lightning bolt framed in an elevated circle. He looks up to the heavens. Denabe and the others stare up at the carving in awe, frozen in place.

ANDREW: Oh, my God.

MARK: What IS this place?

DENABE: This place is a TEMPLE, and before you is the GHOST DOOR.

5/ Mark and Andrew turn to Denabe as he looks up at the Ghost Door, staring reverently at its carved surface.

DENABE: It is not a REAL door, of course. You cannot open it, and there is nothing BEHIND it.
DENABE: It symbolizes the impenetrable THRESHOLD we cross when DEATH passes us from ONE plane to the NEXT. It is through this door that we receive our psychic COMMUNICATIONS.

6/ On Andrew, looking curiously at Denabe.

ANDREW: Is the door really NECESSARY? Can’t you just USE your ability?

7/ Denabe turns to him, obliging.

DENABE: We descend from the EARLIEST psychics, Andrew.
DENABE: We perceive the world very DIFFERENTLY than you and your FRIENDS, and our use of the INDIGO GIFT is reflective of that.

PAGE FIFTEEN

1/ Long panel as Denabe reaches out and caresses the stone monolith of the Ghost Door, rubbing his hands over the intricate carvings. He traces the shapes with his fingers.

DENABE: You view the PSYCHIC WORLD as you view your INTERNET – an intangible, theoretical world of readily accessible INFORMATION – and you use it in much the same WAY.
DENABE: But we AKASHI – for US, our visions are born the same way everything ELSE in our life is: from the EARTH beneath our FEET.

2/ Denabe presses his hand firmly against the stone, and from its place, hundreds of intricate cracks in the stone ripple outward, forming shapes and symbols into the newly cracked rock.

SOUND EFFECT: Crrrackk

3/ PULL BACK, and reveal the three men looking up at the intricate pattern that has emerged in the cracked stone. The various fissures and splits have formed a detailed series of pictures, much like ancient cave paintings.

4/ Andrew and Mark look up at it in awe.

MARK: What does it TELL you?

5/ CLOSE on the pictures on the wall as Denabe points to a particular sequence: a winged serpent, trying to take flight, as a small army of men with sticks and swords battle each other at the bird’s clumsy, encumbered wings – the conflict keeping it from soaring as high as it clearly could, if only they would cooperate.

DENABE: The time of CHANGE is almost UPON us. The great WINGED SERPENT of ancient METAPHOR will soon RETURN, quietly and independently.
DENABE: Few will know it even HAPPENED, but the changes wrought by his presence will spread FAR and WIDE, enlightenment and POWER spreading throughout the WORLD.
DENABE: The CHANGE, though…it will ANGER a great many people, and until the day the winged serpent finally takes HUMAN FORM once MORE…

6/ CLOSE ON Denabe, turning to Mark and Andrew with a look of dread and foreboding in his large, dark eyes.

DENABE: …there will be WAR.
DENABE: There will be DEATH.
DENABE: I am sorry.

PAGE SIXTEEN

1/ CUT BACK to Rhiannon, very CLOSE, as she stares angrily across the room at Will and Dianne, her hair falling carelessly in front of her face as she shouts.

RHI: With all due respect, WILL, the only person living in a FANTASY WORLD is YOU – if you think your son can just STOP being who he IS because it isn’t what you had in MIND!

2/ Donovan leans forward, pulling Rhiannon pack and patting her on the leg, attempting to calm her and deal with the Geblans in a more constructive way. He looks across the room, facing them diplomatically.

DON: What Rhiannon is less than TACTFULLY trying to say is that any attempt to STUNT and DISCOURAGE Link’s GROWTH in this matter is probably not the BEST idea, here.
DON: You could be setting yourself up for a DISASTER.

3/ Dianne crosses her arms in anger as Will leans forward threateningly, challenging Donovan with his eyes.

DIANNE: Are you THREATENING us?

WILL: If we don’t raise our son the way you THINK we should, something BAD’s going to happen to us?

DIANNE: That’s what I heard.

4/ On Will, lecturing, considering the matter final.

WILL: My son will NOT be a part of this voodoo, mystical, godless NONSENSE!
WILL: He is a NORMAL BOY!

5/ At the top of the stairs, we find Link, curled up in the fetal position on the floor and listening to the fighting coming from downstairs. He cries, rocking back and forth.

WILL (from downstairs): YOUR job was to CONVINCE him of that!

6/ Closer on Link, whose sadness has suddenly turned to anger. As he rocks, the electrical field in his body begins to reach outward, connecting with the static electricity in the fluffy carpet that surrounds him. Sparks of energy shot out from his body as his eyes slowly begin to turn a vague shade of blue…

WILL (from downstairs): And you come in here and make it WORSE?
WILL: Do either of you even HAVE children? Do you KNOW what it’s LIKE?

PAGE SEVENTEEN

1/ Rhiannon leans back in her chair, next to Donovan. The look of resignation in her face tells us that she has finally realized there will be no rational conversation with these people. Donovan looks shamefully at the floor.

RHI: No. We don’t.

2/ Dianne stares at her, smoldering. She barely moves her head as she speaks, afraid she will lash out at her houseguests if she so much as twitches.

DIANNE: Then you are NOT qualified to tell us how to raise our CHILD.
DIANNE: Get out of my sight this INSTANT.

3/ Link, still sitting at the top of the stairs, is now sparking with a greater intensity, his eyes slowly glowing brighter and brighter as his anger visibly flares.

SOUND EFFECT: FSSSHHHAKK

4/ Out on the porch, Dianne escorts the now weakly protesting pair of Donovan and Rhiannon from her home, gesturing for them to be on their way. She remains inside, clinging to the doorway as her only shield against the things she doesn’t want to know.

DON: Mrs. Geblan, I really don’t think you UNDERSTAND –

DIANNE: GET OUT!

5/ From a distance, we see Donovan and Rhiannon, standing in defeat on the porch as the door is slammed loudly in their faces. Donovan rubs Rhiannon’s back, trying to make her feel better about their failure.

SOUND EFFECT: SLAM!

6/ VERY CLOSE on Link, his eyes now ablaze with blue fury as electricity leaps wildly from his small form. The bolts of lightning shooting from his body are now nearly as thick as the young boy’s wrists, charring the walls in places around him.

SOUND EFFECT: FSHHAKKK!

PAGE EIGHTEEN

1/ Long Panel as we CUT TO David, sliding the key in the lock on the door of Milo’s apartment. He smiles, unaware that he is about to walk into a fight.

SOUND EFFECT: CLICK

2/ David swings the door open and sees Milo sitting there. Instantly, he is aware that something’s wrong. He’s also a little caught of guard, not expecting Milo to be waiting for him. He pulls his key out of the lock as he talks.

DAVID: Hey, Milo. What’s up?
DAVID: Is everything okay with CHRIS?

3/ Milo, sitting on a chair that he has turned to face the door, stares bluntly and coldly at David, betraying no emotion as he rests his face in his palm.

MILO: Chris is dead.
MILO: Where the hell have you been?

4/ David’s shoulders sink and his face turns deeply sympathetic, stepping toward Milo in a motion to comfort him. He tosses his keys on a small table to his right.

DAVID: He’s DEAD?
DAVID: Milo, Oh my God. I’m so sorry.

5/ CLOSE on Milo, changing the subject to what he really wants to talk about, his brow furrowed furiously.

MILO: I said “where the hell have you BEEN?”
MILO: Send JOSH my regards? Because I thought when he left before I DID this morning that we’d seen the LAST of him for the day. Apparently I was WRONG.

PAGE NINETEEN

1/ David looks taken aback, but also guilty.

DAVID: I wasn’t with –

MILO (off panel): Don’t lie to me. You left your phone here.

2/ Milo tosses the phone across the room, in David’s direction. He has the look of a man who is certain he will win an argument, and his toss is casual and right on target.

MILO: I read your TEXT MESSAGES.

3/ David catches the phone with equal ease, his eyes never leaving Milo as he grows momentarily angry, thinking he’s just gained the upper hand.

DAVID: You read my texts?
DAVID: Invasion of PRIVACY much?
4/ Milo throws his hands out in frustrated exaggeration, still baffled by the stupidity of David’s mistake. He looks dramatically to the sky as he spreads his arms, as if pleading to the gods for some sensibility.

MILO: I don’t have to invade a THING when you leave the goddamn PHONE open to your last TEXT!

5/ David continues to maintain eye contact as he switches tacks, shrugging.

DAVID: Okay. So I was with Josh.
DAVID: We BOTH decided to start sleeping with him. You were the first to SUGGEST it, as I recall.

6/ Milo leans back in his chair, arms crossed. He maintains composure well, given everything that’s already happened today. He stares dead at David.

MILO: I never said you could do it WITHOUT me.
MILO: And I CERTAINLY didn’t suggest HIDING it from me.

PAGE TWENTY

1/ CLOSE on David, looking angrily at Milo.

DAVID: Are you calling me a CHEATER?

2/ CLOSE on Milo, remaining well composed, but stern.

MILO: I would say this QUALIFIES, yes.

3/ David turns, trying to escape the unhappy conversation. He turns his back on Milo and makes as though he’s going to walk into the kitchen.

DAVID: What the hell ever, Milo.

4/ Milo remains on the chair, arms crossed. Without raising his voice, he asks his next, most important question.

MILO: Are you ROMANTICALLY involved with him?

5/ David turns back, his face now gone slack as he realizes there’s no real way to win this particular argument. He looks down at the ground for the first time.

DAVID: …I think he has feelings for ME.
DAVID: But as far as I’m concerned, it’s just a SEX thing.

6/ Milo finally stands up, holding a thick, leather-bound book up toward David. The book has unintelligible foreign writing on the cover, but its leather face is carved with numerous intricate designs. Its pages are old and yellow.

MILO: Well, you’re going to FIX it.
MILO: Oh, and this book you get all your MAGIC from? Been reading up on THAT, too.

MILO: The moment you walk out that door, I’m putting a BARRIER SPELL on this apartment.

7/ CLOSE on Milo, making an ultimatum and looking very serious about it.

MILO: You don’t even get back in this BUILDING until Josh is out of our LIVES.

PAGE TWENTY-ONE

1/ CUT TO Donovan and Rhiannon, walking down the sidewalk in Harrison West. Rhiannon throws her arms out in frustration as Donovan looks over at her sympathetically.

RHI: GOD!
RHI: Can you believe the GALL of those people?

2/ On Donovan, trying to calm her. He looks honestly and patiently over at her, touching her shoulder with his hand and trying to reason with her.

DON: Actually, awful as it sounds, I CAN.
DON: It’s no different than the way A LOT of parents treat their kids when they find out they aren’t the little CLONES they wanted them to be.

3/ Rhiannon is cut off mid sentence as they both jerk to a stop, sensing the some thing at the same time. Their faces turn to urgent horror in an instant.

RHI: It just amazes me that people can be so –
RHI: Wait. Do you feel that?

DON: We should go BACK.

4/ Donovan and Rhiannon sprint through the neighborhood, running as fast as they can. Donovan leaps over someone’s tipped red wagon as Rhiannon presses on harder, trying desperately to get back to the Geblan’s house before anything goes horribly wrong.

5/ The two of them slide to a stop on the front lawn of the Geblan home, Donovan looking worried and Rhiannon’s jaw hanging practically down to the ground in shock.

RHI: Oh, my God.
6/ PULL BACK, and we see Donovan and Rhiannon from a distance standing on the lawn of what is now a shattered husk of a home. The entire right side of the building has been blown off, as if by a tornado, and in various places the wood has caught fire. On the porch, stumbling out of the debris, are the injured but alive Will and Dianne Geblan. Chunks of wood and vinyl siding are scattered all over the lawn, and tattered draperies flutter about in the warm summer air. Smoke rises from the decimated side of the house.

PAGE TWENTY-TWO

1/ CUT TO Milo walking into the Atlas Building offices of the Knights of Columbus, looking furious with the world, only to discover Beth reclining in a chair at the conference table. He looks startled to see her.

BETH: Hey, gloom and doom.

MILO: Beth. What are you doing here?

2/ Beth rocks the chair backward, putting her legs up on the table and placing her hands behind her head in a casual position.

BETH: What the hell’s your problem?

3/ Milo looks away, trying to busy himself by finding something in the office that needs doing and coming up short. His glance falls off to the side, his attitude forbidding him from looking Beth in the eye.

MILO: Nothing I wanna talk about. I came here hoping to be ALONE, really.
MILO: Isn’t there somewhere you have to BE?

4/ Beth drops her legs and leans forward, getting annoyed with him.

BETH: What, and miss all this excellent treatment from my good friend MILO?
BETH: No, as a matter of fact. I have an overabundance of NOTHING to do.

BETH: But YOU look like somebody just POOPED in your CHEERIOS. What’s going on that’s got you acting so damned pleasant?

5/ Milo ignores her, dangling a bag full of marijuana in the air.

MILO: Like I said, not too keen on the CHATTY CATHY right now.
MILO: I was hoping for a little alone time with my PLANT collection, but if there’s permanent residence set up here, I’ll take my Glaucoma remedies ELSEWHERE.

BETH: Weed? You were gonna SMOKE WEED in the office?

MILO: Yeah. That a problem?
6/ Beth sits Indian-style in her chair and folds her hands in her lap, making perfectly clear that she has no intention of letting Milo get away with evasion tactics.

BETH: Milo, LOOK:
BETH: I’ve been sitting around with nothing to DO all day LONG, knowing it’s a couple of MONTHS until my husband gets home, dealing with an ADMINISTRATOR who’s none too happy with YOU, and feeling about as useful as an OXY PAD in a BURN WARD since everybody’s favorite unlikely couple are handling our only current CASE and our FEARLESS LEADER is off playing GEORGE of the JUNGLE with his new buddy MARK.

BETH: I would be positively ECSTATIC to hear about other people’s PROBLEMS right now.

7/ Milo stands in the middle of the office, halfway between leaving and settling down to chat. He sags his shoulders, caving into Beth’s determination.

MILO: Well…long story SHORT?
MILO: The same day my EX dies of the AIDS I gave him, I find out that my CURRENT has been PRIVATELY sleeping with the boy we’re supposed to be having THREE-WAYS with, and that it’s VAGUELY romantic, and that he’s been HIDING it from me.

MILO: In a nutshell.

PAGE TWENTY-THREE

1/ Beth raises an eyebrow, taking it all in.

BETH: …and you feel that spells doom for you and DAVID?

2/ Milo looks thoughtful, hesitant.

MILO: Well…I dunno about all THAT.
MILO: But YEAH, kinda. I mean…doesn’t it?

3/ Beth looks down at her own hands, thinking.

BETH: I’ll tell you something, Milo.

MILO (off panel): Shoot.

BETH: …
BETH: Every Dawson’s got his JOEY. You follow?

4/ Milo looks at her, straight-faced but perplexed.

MILO: …can’t say as I do.
MILO: You didn’t really just SAY that, did you?

5/ Beth settles back into her chair, looking at him earnestly as she fiddles self-consciously with her own hands.

BETH: I did. And I’m serious.
BETH: There’s always a chance that your partner’s gonna have that GUY. The guy that it ALMOST worked out with, but never just QUITE. And that, no matter how much they love you, they’ll cling to it.

6/ On Milo, listening thoughtfully as Beth continues.

BETH (off panel): You’re right.
BETH: David needs to knock it off and get RID of this kid, but you can’t be mad about the guy BEING there when YOU invited him in.
BETH: And the notion that David MIGHT have something approximating FEELINGS for someone ELSE?

7/ On Beth, looking at Milo seriously, beseechingly. She’s pleading her case to Milo as though she were begging Landon to understand her feelings for Andrew. Milo did not fully realize until this moment how personal this sudden conversation was for Beth, but it shows in her eyes as she speaks.

BETH: I say, so what?
BETH: You know whose bed he comes home to every NIGHT. Why fight a battle you’ve already WON?
BETH: Maybe you don’t have one hundred percent of his HEART, but you’ve got NINETY percent of it, at least. And that’s more than a lot of people will ever GET.

BETH: Not all loves are the SAME, Milo. Accept them for what they are or go rent a romantic comedy and cry yourself to SLEEP.

PAGE TWENTY-FOUR

1/ CUT BACK to Andrew and Mark, following Denabe up the long stairwell and toward the daylight. Andrew follows close behind, questioning Denabe with interest.

ANDREW: Look, Denabe…
ANDREW: Do you know how ACCURATE that method is? I mean, I knew things were going to get COMPLICATED, but WAR? Really?

2/ Denabe turns, looking down the stairs at Andrew over his shoulder. He stares at Andrew matter-of-factly, unimpressed.

DENABE: Then it seems you guessed WRONG, Andrew MacTiernan.
CAPTION (ANDREW NARR): See, there are SOME days where no matter HOW MUCH you think you’ve got it under CONTROL, the UNIVERSE has something else in mind for you entirely.

3/ Andrew looks down, at nothing in particular. He thinks, his eyes darting.

ANDREW: That doesn’t really HAPPEN often. All the variables…

4/ Denabe leads them as they near the top of the stairs, reaching out for the stone doorway that guards the temple.

DENABE: There are unknown QUANTITIES at work. A system is only as PREDICTABLE as human interference ALLOWS it to be.

CAPTION: All your REASONING and CALCULATING and FILTERING AWAY into whatever HAPPY place you’ve weaved to shove all the chaos out of sight…

5/ Andrew shakes his head, not fully accepting that things could turn out so differently from his projections.

ANDREW: That’s TRUE, but what - ?

CAPTION: …on THOSE days, it just won’t CUT it.

6/ Denabe turns, facing Andrew as he pushes the large door open with his arm, letting the light pour into the stairwell.

DENABE: Someone is going to break the RULES. Move the schedule FORWARD.
DENABE: The balance will be TIPPED by human interference in YOUR world, as it has been in MINE.

PAGE TWENTY-FIVE

1/ Long panel as the three men look out through the open doorway into the clearing of the Akashi camp, surprise and alarm on their faces. Denabe leans against the door, still in the process of pushing it open, as Andrew looks on in shock and Mark leans around him to get a clear view of what’s happening.

ANDREW: Speaking of…

CAPTION: On THOSE days, you sit back, assess all the CRAP staring you in the face, and you try to DECIDE.

2/ The Bakii, no longer tied up in the center of the clearing, stand face-to-face with Andrew, Mark and Denabe, pointing their guns in their faces and looking furious. The guns click as the tribesmen ready them.

SOUND EFFECT: Click click click

3/ Mark pushes his way around Andrew, shouting angrily past the Bakii and into the clearing, addressing the people of the Akashi.

MARK: Who untied them!?
MARK: Who gave them their WEAPONS!?

4/ The three men look past the Bakii firing squad, seeing the ring leader that stands behind them for the first time as they acknowledge the sound of slow, patronizing applause. We don’t see the source of the clapping just yet.

SOUND EFFECT: Clap clap clap

VOICE (off panel): Mark Shepard and Andrew MacTiernan.
VOICE: Didn’t EXPECT to see any other P.D.I. teams all the way down here in the big, bad JUNGLE.

5/ A foot, clad in a heavy work boot, steps into the dusty ground of the Akashi clearing, kicking up dirt as it plants itself firmly on the ground. The owner stands several feet away from Mark, Andrew and Denabe, and we can see them in the BG of the shot, taking in the sight of their new captors. We do not yet see the owner of the foot.

VOICE: Nonetheless, it’s an HONOR to finally meet the LEADERS of the two teams who’ve been HOGGING all the HEADLINES.

CAPTION: You try to decide, and you think…

PAGE TWENTY-SIX

1/ FULL PAGE SPLASH revealing the three people who’ve been arming the Bakii and who now hold our heroes captive. The ring leader stands closest to us, a man in his mid to late twenties with a punky faux-hawk and a blue hoody emblazoned with the image of two DJ’s headphones across his chest. The air above his outstretched hands vibrates and shimmers as he controls the sound waves in the surrounding area. Second, at his side, is a young looking girl who looks more like Ellen Page from JUNO than anything else, with a bright red zip-up hoody and a plume of crackling fire emanating from her hands as she holds them in a combat ready stance. Third, furthest away, is a somewhat grizzled looking man in his mid twenties, with longish, unkempt hair and at least three days worth of stubble, dressed in blue jeans, a brown Carhart jacket, and a light brown t-shirt. A hemp necklace around his neck depicts the image of the planet Earth in the form of a small silver pendant. Around him, the dust, dirt and rock swirl up in a protective barrier as he waves his hands in command.

The three of them together stare out of the panel and toward us as they approach the group of surprised heroes menacingly, itching for a fight.

SOUNDWAVE GUY: I’m PETE WARNER, from CAMBRIDGE – and this is my TEAM…

PETE WARNER: THE MASSACHUSETTS UNDERGROUND.

CAPTION: …how the HELL am I going to deal with THIS?


Next – Nightmare Scenario!

Knights of Columbus #13

Issue Thirteen: “Missing Link, part 1: Right Before My Eyes”

PAGE ONE

“Previously” page.

PAGE TWO

1/ Long panel as we find Milo and David, lying in bed in the early hours of the morning. By their side, filling out the rather large occupancy limit of Milo’s bed, is Josh – Andrew’s student. All three are in their underwear, covered to varying degrees by the casually tossed blankets. David is turned on his side, back to Josh, with his arm wrapped around Milo. Milo’s hand dangles freely from the side of the bed. Josh sleeps like a baby, head turned toward David’s back.

Caption: The Short North, Milo’s Apartment.
Caption: Early morning.

NARR (MILO): See, in the DREAM…everything’s DIFFERENT, somehow.

2/ Long panel as Milo sits up, waking earlier than the others and rubbing his tired eyes. Early sunlight shines in through the window, dimmed by the fact that the view out Milo’s window is the side of a tall brick building. Milo reaches to his nightstand, in the FG, and picks up his glasses.

NARR: I can’t put my finger on it yet. The dreams started the day that he…LEFT…and whenever I have them, I wake up remembering only a little bit.

NARR: I know there’s more. And that it’s terrifying.
NARR: But I can only hold on to a snippet or two at a TIME.

3/ On Milo’s legs, his head obscured by the top of the panel, as he swings his legs out from under the cover and plants his feet on the carpeted floor, sitting on the edge of the bed as he polishes his glasses with a tissue. A tear-away calendar on the night stand displays the date, along with a daily Dilbert cartoon. Behind Milo, we can see David, sound asleep. Milo wears swishy black gym shorts.

NARR: I RESENT the dreams. I want to go BACK, to that morning of June 15th, when things still seemed relatively NORMAL.

4/ Milo gets up out of bed and pulls a dark red All-American Rejects shirt over his head. There’s a bruise still healing on his ribcage from the day he fought the werewolves, and his unkempt bed hair sticks wildly out the top of the shirt as it gets stuck on his head. From this angle, we can see both men in the bed behind him, stirring only slightly at Milo’s sudden bout of movement.

NARR: I say RELATIVELY because I woke up, yet again, with both David AND Josh in my bed. And by JOSH I mean Andrew’s charmingly young and enthusiastic PHILOSOPHY student.

PAGE THREE

1/ Milo idly collects laundry, presently tossing a random black sock into the circular laundry basket piled on his small wooden dinner table. He looks slightly distraught, as though something unpleasant is creeping its way into the back of his mind.

NARR: But even if we WERE still doing the THREESOME bit – even if we HADN’T yet figured out what a mistake it would be to let someone so young and naïve into our bed – at least there were no dreams.

2/ In the basement, in a cramped laundry room, Milo leans against the vibrating drier and reads a comic book, his back to us as he reads.

3/ Milo ascends the long concrete steps in his apartment building, returning to his apartment with the newly washed load of laundry. His eyes still wander, looking distracted.

NARR: You know what I’m talking about. The moments in time you can pluck from your memory and say “THERE.”

NARR: “THAT’S THE MOMENT EVERYTHING STARTED GOING DOWN THIS ROAD. THAT’S WHEN IT HAPPENED.”

4/ Milo stands in his apartment looking idly at a half finished painting he is working on of David, presumably in the nude, though we can’t see much of it with Milo standing in the way. The finished laundry sits on the table in the FG, unfolded and cooling off. Milo rubs his chin with his hand, debating what to do next with the painting.

5/ At Milo’s leg, a small black cat curls around his ankle, looking up at him and meowing silently as it appraises its master. A tiny collar with a name tag declares the cat to be “Dax.” It curls against Milo’s bare feet.

MILO (OFF PANEL): Good kitten.

6/ On Milo’s engaged face, staring seriously at the off panel painting as he assesses it.

NARR: The moments that, at the TIME, could have been ANYTHING – but in the end, are really EVERYTHING.

PAGE FOUR

1/ On the small kitchen counter as Milo pours skim milk into a heaping bowl of cheerios. The cat, sitting on the counter, watches with interest.

NARR: So yeah, that morning?
NARR: I wish I could reach back in time and do something DIFFERENTLY, but I can’t.

2/ On Milo, as he stands at his open refrigerator, checking the expiration date on the jug of milk. Next to the refrigerator are a trashcan and a green trashcan reserved for recycling. The cat continues to follow Milo’s progress, now perched on the top of the fridge.

NARR: I’m just STUCK with the knowledge of it. That THAT was the day that everything REALLY hit the fan.

3/ Long panel as Milo suddenly lurches over, gripping his head in pain and leaning on the fridge for support. The startled Dax retreats, hair sticking up as he leaps from the counter. Milo shouts out, in agony.

MILO: AHH!
MILO; God!

4/ Milo is doubled over in a tight crouch, almost sitting on the floor, as he rubs his aching temples. David approaches from behind, mostly off panel, and reaches out to comfort Milo with a gentle touch on the shoulder.

DAVID: Milo, what’s WRONG?!

MILO: Chris…

5/ Milo turns over his shoulder to face David, behind him. His face is contorted in terror, and sweat drips down his brow.

MILO: Something’s wrong with CHRIS.

NARR: The day that started with Chris.

PAGE FIVE

1/ This is a FULL PAGE SPLASH, featuring the issue’s TITLE, CREDITS, and IDICIA. Donovan and Rhiannon stand on the front porch of a beautiful Victorian home in Harrison West. Rhiannon rings the doorbell while Donovan stands by with his hands in his pockets, rocking back and forth on his heels a bit while he waits. Donovan, though still dressed in his now trademark dark colors, looks notably more relaxed and at ease with himself than we are traditionally used to seeing him, and is dressed more comfortably in dark jeans and a t-shirt, while Rhiannon has eased off a little further on the Gothic makeup and looks more alterna-punk than anything else, smiling a little more happily than she used to and dressing a good bit more brightly in a cream colored shirt that reads “Kneel Before Zod.” Rhiannon holds a printout crumpled in her non-doorbell hand, resting it against her hip as she waits with Donovan.

CAPTION: Harrison West.

DON: So, what’s this kid’s NAME again?

RHI: Eddie Geblan, I believe.

PAGE SIX

1/ Rhiannon examines the printout, unfolding it and reading aloud.

RHI: EDWARD LINCOLN GEBLAN, to be precise.

2/ Side by side, the two of them look patiently at the front door, awaiting an answer. Donovan raises an incredulous eyebrow while Rhiannon smiles mockingly at him out of the corner of her eye.

DON: The hell kind of name is GEBLAN?

RHI: Says the guy whose name brings to mind GENERAL HOSPITAL.

DON: Ouch.
DON: You could AT LEAST give me PASSIONS.

3/ Long panel as a woman opens the door. She is a traditional soccer mom if ever we’ve seen one. This is Dianne Geblan. A small porch light is mounted next to the door, and on the opposite side is a wide metal mail box that reads “GEBLAN.” Dianne does not smile.

DIANNE: Hello? Oh, you must be –

4/ In the doorway, at Dianne’s side, is Eddie. He is ten years old, but still tugs childishly at his mother’s side as he looks up at their guests in awe. He holds a toy brontosaurus, and it drops to his side, forgotten almost entirely.

EDDIE: KNIGHTS OF COLUMBUS!

5/ Rhiannon drops to her knees, reaching Eddie’s eye-level. Donovan remains standing, and his legs can be seen in the panel. Rhiannon smiles encouragingly and greets the young boy, pushing a lock of hair behind her ear as she speaks.

RHI: Hey there, BIG GUY.

RHI: You must be EDDIE.
PAGE SEVEN

1/ Large Panel as we CUT TO Andrew and Mark Shepard, standing at the front of a small passenger boat as it navigates its way through the jungle river surrounding them. The name written proudly on the side of the boat is the “Lusitania,” and as Andrew stands near the very front and stares off into the jungle, there’s a sense of cautious defiance about him. He looks as though he hasn’t shaved in over a week, and his clothing is a bit worn around the edges from his days away from land or convenience. Still, he appears to be enjoying himself, and he smiles as he turns only slightly over his shoulder to acknowledge Mark, who appears coming up from the back of the boat, waving a bottle of Columbus Brewing Company beer in Andrew’s direction.

CAPTION: Somewhere in South America.

MARK: Yo, MacTiernan. You want a CBC?

ANDREW: Nah, man. I’m good.
ANDREW: It is BEAUTIFUL out here.

2/ Pull back and we see the boat, drifting through the dense jungle foliage. The boat is old but sturdy, clearly well-kept though it’s lower edges are permanently stained from too many uses. Strange birds float by, gliding from tree to tree.

MARK (coming from the boat): That’s true.

3/ On Mark, looking out into the trees and overgrowth as he stands at the edge of the boat. He takes a swig of his beer, raising a distrusting eyebrow as he looks off into the jungle with a knowing reservation. He, like Andrew, shows all the physical signs of being out in the wilderness like this for days at a time.

MARK: But beauty’s a deceptive thing.
MARK: Tends to hide something a lot more DANGEROUS underneath.

4/ Pull back again, and as the boat drifts down the river away from us, we see the foliage part and two pairs of feet appear at the edge of the panel, with crudely designed spears digging down into the soil beside them. Mark and Andrew, on the boat, remain unaware that they are being watched.

ANDREW (coming from the boat): Hey, way to keep a positive outlook, Mark. Thanks for that.

PAGE EIGHT

1/ Andrew looks over the edge of the boat, down into the water. He looks curious, but also a little concerned. The boat’s name shows prominently under him as he hangs over the edge.
ANDREW: Is it true that there are insects out here that are as big as your HAND?

2/ Mark stands on the deck, taking a drink from his beer and scratching his crotch. Clearly, these men have become comfortable with each other in the time that they have been on this trip. Formality between them has fallen by the wayside.

MARK: You would not believe the stuff that –

3/ Mark turns suddenly, sloshing beer from his bottle. In an instant, he has become alert and aware, catching something moving out of the corner of his eye.

MARK: Son of a bitch.

4/ Andrew, still at the edge of the boat, turns in alarm. He faces Mark, deep concern etched on his face.

ANDREW: What?
ANDREW: What’s wrong?

5/ Andrew joins Mark in looking off to the jungle on the boat’s left side. Mark points into the distance, drawing Andrew’s attention to what he has seen.

MARK: We’re not alone.

6/ In the distance, seen from the boat, we can see a handful of tribal-looking men slinking through the jungle, barely visible between the great leaves. They carry spears at the ready, and at their sides they sport something else – something modern looking, and black…

PAGE NINE

1/ Andrew turns to Mark, worried.

ANDREW: Who are they?

2/ Mark continues to watch the tribesmen, his glare serious and foreboding.

MARK: Not our friends.

3/ Andrew, remaining at his spot, watches as Mark walks toward us, heading toward the back of the boat. His bottle hangs at his side, all but forgotten. Andrew looks curious.

ANDREW: Where are you going?

MARK: Taking care of this. I’ll be right back.

4/ Inside the cabin of the boat, Mark roots around in a large red storage chest, looking for something with a determined glare on his face. He succeeds, pulling out a clunky flare gun and staring at it with purpose.

MARK: There you are.

5/ Mark walks out of the cabin and onto the deck of the Lusitania, holding a finger in his ear and firing the flare gun into the sky. His shirt rides up a bit as he reaches the gun up into the air, and he squeezes his eyes shut as he emits the blast.

SOUND EFFECT: FOOSH

6/ BIRDS EYE VIEW, looking down at the boat as the flare flies up toward us and into the sky. Behind it, a trail of smoke leads down to the boat, streaking across the sky.

SOUND EFFECT: EEEEEEE

7/ The tribesmen disappear into the jungle, their feet slinking away into the leaves as they go. The jungle gathers around them as though they were never there.

8/ Mark watches the men disappear, taking a swig from his beer without ever taking his eyes off their vanishing forms. He stares warily into the jungle.

MARK: That’s right, assholes.
MARK: You run and HIDE.

PAGE TEN

1/ Long, Large Panel as we CUT to the offices of the Knights in the Atlas Building, downtown. At one end of the long conference table, Mr. Palmer sits menacingly, staring down the end of the table in our direction. Morning light filters in through the long slit blinds, highlighting the irritation on his face as he listens to the recording that fills the room.

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

MILO’S VOICE (on the TV): The time for this CULTURAL LAZINESS is rushing to an END. The world has some difficult lessons to LEARN, and for AMERICA perhaps the most difficult of ALL.

MILO’S VOICE: For those of you who are like US, who can intuitively FEEL the PARADIGM SHIFT that is HURTLING toward us – I want you to know that you are NOT alone.

2/ On Beth, sitting at the opposite end of the conference table with her arms folded and her legs propped against the edge of the table, her chair leaning backward. She appears to be annoyed by this entire exercise.

MILO’S VOICE: There are those who would have you believe that your gifts are IMAGINED, that you belong in an INSTITUTION. These are LIES.

MILO’S VOICE: You are not CRAZY. You are not alone.

3/ On the Television, sitting on a rolling stand positioned near the middle of the table, where they can both see it. From the TV, we see Milo staring out at us, very close. He issues the same message we saw broadcast around Columbus in Knights #12.

MILO: There will come a DAY, very soon, when we will either COME TOGETHER, or the future will DIE.

MILO: My name is Elliot Milo Woodyard, and I am one of the KNIGHTS OF COLUMBUS.

4/ Palmer picks up a remote control and points it at the TV, silencing the video. He looks satisfied in his illustration of how bad this is, and he glances over at Beth with a challenging look on his face.

PALMER: You can SEE, then, the source of my…
PALMER: …CHAGRIN.

5/ On Beth, popping up an eyebrow as she fires back, deadpan.

BETH: Sure. It takes you a moment’s pause to come up with a word like CHAGRIN.
BETH: I’d be pretty CHEESED OFF, too.

PAGE ELEVEN

1/ Palmer presses his hands to the table and lowers his head, keeping his eyes affixed on Beth. He is trying his best to maintain composure and appear threatening, but Beth is having none of it.

PALMER: I’m not LAUGHING, Adams.

2/ Beth gestures dismissively, going on the defensive.

BETH: I’m not convinced you CAN, Palmer.
BETH: Look…it’s been THREE WEEKS since Milo pulled his little STUNT, and if there’s been any BACKLASH at all, it’s been NEGLIGABLE at best.

3/ Palmer pulls out a fat cigar and lights it slowly with a butane later, looking at it appraisingly as he does. In this moment, Beth is almost invisible to him.

PALMER: This is not something the PDI has any intention of TRIVIALIZING, Beth.
PALMER: Just because nobody’s peeped up about it yet, the fact still remains that everyone within SPITTING DISTANCE of a television in this city SAW this announcement.

4/ Beth leans back, crossing her arms again.

BETH: I sincerely doubt most people even KNEW what he was TALKING ABOUT.

5/ Palmer takes a long, slow drag on his cigar, looking at Beth over its smoldering edge.

PALMER: I AGREE that, taken out of CONTEXT, it doesn’t look like MUCH.

6/ Palmer leans back in his chair, exhaling. From his mouth, and from the cigar, smoke billows – catching the light that pours in through the windows. He looks at Beth as though this meeting won’t be over until she sees things his way.

PALMER: But exactly how much MONEY do you want to put on a bet that there weren’t PLENTY of people who knew EXACTLY what to make of it?

PAGE TWELVE

1/ TALL PANEL as we CUT TO Donovan and Rhiannon, wandering through Goodale Park with their new friend, Eddie Geblan. The sun shines brightly as the day moves along, and the light reflects from the small lake that comprises the center piece of the park. Behind them as they walk together is a small white gazebo, its main steps facing the lake. The lake is filled with enormous lily pads, floating freely in the water as ducks swim by. Rhiannon holds her hand in the small of Eddie’s back, attempting to make him feel at home as she and Donovan lead him about – the two adults walking with interlocking arms as they enjoy the beautiful weather.

CAPTION: Goodale Park.

RHI: So, Eddie.
RHI: Your parents say you’ve been going through some pretty weird STUFF lately.

EDDIE: You can call me LINK. Everybody else does.

2/ On Rhiannon as she smiles down at him, taking to the new name.

RHI: Alright, then, LINK.
RHI: Why don’t you tell us about what’s been happening?

3/ Link takes a sip from the paper cup he’s carrying with him, enjoying his soda. He walks on with his eyes averted from his new friends, trying to retreat within himself as he tells total strangers something he’s barely comfortable sharing with his parents.

LINK: I dunno. I can see stuff.
LINK: Like…stuff that nobody ELSE can see.

4/ On Rhiannon and Donovan, as Don turns to look down at Link, prompting him on.

DON: What kind of stuff, Link?
DON: It’s not SCARY stuff, I hope.

5/ Link looks down into his soda, unsure of himself.

LINK: Not really. It’s like, GHOSTS and stuff.
LINK: I don’t think it’s scary, but my PARENTS sure seem to.

PAGE THIRTEEN

1/ Long panel as they walk through the park. We see them from a distance, and as such, we can take in the gorgeous day that surrounds them. They continue their conversation, looking for all the world like their own little family enjoying a day out together.

DON: And why DON’T they scare you?
DON: Lot of kids would be flipping out over something like that.

LINK: They’re just PEOPLE.
LINK: Sometimes they’re CONFUSED, sometimes they’re ANGRY. But it’s not scarier than any OTHER person who’s mad at something would be.
LINK: People just get scared of them because they don’t get it.

2/ Donovan looks forward, a slight smile creeping into his expression. He praises Link. Rhiannon, at his side, looks down at the boy, probing.

DON: Well, that’s a very MATURE outlook for somebody your age, Link.

RHI: Why do you think it scares your parents?

3/ Link is warming up to them a bit, pleased that they aren’t calling him crazy. He clearly wants to get as much off his chest in this short meeting as possible.

LINK: I think THEY think that there’s something WRONG with me.
LINK: Like…that I’m not NORMAL or whatever.

4/ The three of them walk on, Rhiannon squeezing Link’s hand as she continues to walk arm-in-arm with Donovan. Donovan sticks his hands in his pockets, strolling.
RHI: Well, I can assure you that NORMAL is a STATE OF MIND. Look at US.

LINK: That’s easy for YOU to say. You’re SUPERHEROES.
LINK: I can’t do anything COOL like you can.

5/ Rhiannon smiles and illustrates Donovan with a gesture of her thumb. Donovan takes offense, playfully.

RHI: Hey, you don’t know that.
RHI: Donovan’s powers are TOTALLY lame, and HE’S a superhero.

DON: Hey!

6/ Rhiannon bends down to the ground, looking Link in the eye, seriously.

RHI: But, really, Link:
RHI: Your abilities could help A LOT of people.

PAGE FOURTEEN

1/ Link looks at her, hopeful.

LINK: Yeah. Sometimes I think about that MOVIE, The Sixth Sense?
LINK: That kid had powers like MINE, and he was able to help people out.

2/ Rhiannon stands up as Donovan looks down at Link, fearfully.

DON: It’s not LIKE that, is it?
DON: Like that MOVIE? You don’t see them the way they DIED or anything, do you?

3/ Long panel, at Link’s level, as the three of them continue their walk through the park. He looks happy to be explaining things to someone who approves, but does not expect their reaction to his next statement.

LINK: Oh, no. Nothing like that.
LINK: Sometimes they look all shiny and magical – but when they’re like that they seem less like PEOPLE and more like SPIRITS, you know? And sometimes, when they’re still mostly PEOPLE, they look like black shapes, or SHADOWS.

LINK: And when I TOUCH them and they do the SOLID thing? Then they just look like regular PEOPLE. Like they’re still alive. Until it goes away.

4/ Donovan and Rhiannon freeze and look down at Link in awe and confusion.

RHI: Wait…when you touch them and they do the WHAT thing?

DON: What did you say?

5/ Link looks up at his new friends, suddenly fearful that he’s gone too far.

6/ He turns his head away, looking angrily forward at the ground. He pouts.

LINK: See? I TOLD you I’m not NORMAL.

PAGE FIFTEEN

1/ LONG PANEL as we cut back to the Lusitania, still traveling through the jungle. Andrew reclines in a deck chair, reading a copy of Arthur C. Clarke’s “Childhood’s End” with his legs propped up on the edge of the boat. From somewhere off-panel, Mark calls to him.

MARK: Andrew!
MARK: Andrew, get UP here!

2/ Andrew approaches the front of the boat to find Mark, leaning against the railing and looking into the jungle with pride.

ANDREW: What’s up?

MARK: We made it.
MARK: We’re HERE.

3/ On the muddy shore as the boat pulls up and grinds to a halt against the dirt and rock.

SOUND EFFECT: SCHUMP

4/ LARGE PANEL as we see, standing on the shore, three dignified and powerful looking tribesmen, the one in the middle wearing the ornate trappings of the revered Shaman of the Akashi. He has a vast ornamental headdress with encrusted jewels that hang down below his ears, and hanging on his bare, dark brown chest is an enormous golden medallion carved with cryptic symbols and shining jewels. His face is old and weathered, built around a broad, flat nose that appears to have been broken a great many times – perhaps ritually. At his sides are his two lesser tribesmen, their short hair pulled into many smaller stubs and their lean, muscular bodies looking as though they could outrun a lion or tear a man in half with their hands. They both carry thick wooden staffs, hung from the top with animal carcasses stuffed with lord knows what kind of mysterious artifacts.

SHAMAN: Mark Shepard. You bring us another CHILD OF THE MOON.
SHAMAN: What brings you to our HOME, once again?

PAGE SIXTEEN
1/ Mark walks forward, extending a hand in greeting. In the background, the Lusitania floats idly in the river waters. Mark smiles warmly, pleased to see the old Shaman.

MARK: I have a friend I would like you to MEET. Shaman Denabe, I humbly introduce you to –

2/ Shaman Denabe looks coldly at Mark, inexplicably incensed.

SHAMAN: You should not have COME, friend Mark.

3/ LONG PANEL as Mark reacts, taken aback. Behind him, Andrew leaps down from the boat, looking confused.

MARK: Wait, what?
MARK: I thought you said I was welcome back at any TIME?

4/ Denabe walks away from him, leading everyone into the Akashi’s camp, buried in the jungle. He looks back over his shoulder as he speaks to Mark, explaining.

SHAMAN: You speak the truth.
SHAMAN: But this time, you have been careless.

5/ Close on Denabe, from behind, as he looks grimly at Mark over his shoulder.

SHAMAN: You have brought BAKII in your wake.
SHAMAN: If we survive this day, you will leave here and never come back.

SHAMAN: Now come. We must prepare.

PAGE SEVENTEEN

1/ Long panel as we CUT BACK to the Atlas Building, where Beth and Palmer continue their discussion. Beth gestures emphatically, trying to justify Milo’s actions.

BETH: Look, Mr. Palmer, I’m TELLING you it’s not a big DEAL.
BETH: It’s been a WEIRD few MONTHS for everybody, Milo was having a strange DAY, there had been a lot of UNNECESSARY stuff on the NEWS…
BETH: He was just VENTING.

2/ Palmer looks at her unsympathetically. Smoke billows around him from his cigar.

PALMER: Beth. He was VENTING to the tune of WAR DRUMS.
PALMER: SEDITIOUS SPEECH, for Christ’s sake!

3/ Beth’s jaw drops, furious. She places her hands on the table and leans forward, firing back in her indignance.
BETH: Oh, PLEASE.
BETH: Are you honestly telling me that you think Milo Woodyard is plotting a REVOLUTION?

4/ Palmer remains calm, gently stubbing his cigar out in the ash tray that sits at his side. He straightens his tie with his free hand, looking away from Beth as though her anger is meaningless to him.

PALMER: No, I don’t.
PALMER: But I think AMERICA could easily come to that CONCLUSION, had they been privy to Milo’s little PSA.

5/ Beth leans forward even further, switching tacks and pleading for reasonability.

BETH: But. They. Didn’t.
BETH: The broadcast was limited to COLUMBUS, and we’ve had UNDERCOVER PR GUYS out in the field putting positive SPIN on it for WEEKS.
BETH: America’s FINE.

PAGE EIGHTEEN

1/ Palmer stands up, preparing to leave. He looks grimly at Beth.

PALMER: And we’re lucky for that.

2/ Beth sits back, crossing her arms in indignant frustration. She glowers at him.

BETH: What do you want me to SAY, Palmer?

PALMER (off panel): That you’ll TAKE CARE of it.

BETH: I’ll take care of it.

3/ Palmer heads toward the door, barely glancing back at her as he leaves.

PALMER: Good.
PALMER: Because if it – or anything like it – happens again?
PALMER: Your resources dry up. Your money goes away. Your PR guys drop from the face of the EARTH.

4/ He leaves, pulling the door shut behind him as he goes. As he does, however, he shoots one last threatening look at Beth, speaking the foreboding words she knew she’d hear by the end of this meeting. And he looks serious.

PALMER: I will shut this team DOWN.

5/ LARGE PANEL as Beth stands alone in the empty office, the drawn shades putting her in near dark as only faint lines of light shoot in through the windows. She winces as the door slams behind Palmer, looking angrily at nothing as she tries to imagine what to do next. Milo’s image remains on the television screen, frozen in jerky stasis as the video tape remains paused.

SOUND EFFECT: SLAM

BETH (small font): Dammit.

PAGE NINETEEN

1/ CUT BACK to Link’s house in Harrison West. We see an ESTABLISHING SHOT outside the house, as the midday sun still shines brightly outside. We can see the figures of Link, Rhiannon and Donovan inside one of the bedroom windows.

RHI (from inside): Link, you ARE normal.

2/ Inside the bedroom now, Rhiannon looks directly at Link, who sits on the edge of his bed, looking forlorn as she tries to console him.

RHI: You’re just DIFFERENT.
RHI: If what you’ve told us is TRUE, you have an EXTRAORDINARY set of abilities.

3/ On Link, arms crossed, looking straight through Rhiannon and off into space, a scowl on his young face as he tries to make them leave by being indignant.

LINK: It’s TRUE.

4/ Rhiannon stands up, side by side with Donovan. Donovan gently tries to goad Link, hoping to see this ability in action so they can estimate Link’s degree of power.

DON: Can you SHOW us?

5/ Link lays his hands in his lap and stares at them as though he’s just used them to murder someone. His face is distraught, but he is somewhat encouraged by the two people who are simply fascinated by what he can do.

LINK: They’re already all AROUND you.
LINK: They follow me. And they follow you, too. You have different ones than I do, though. I’ve never seen the ones you have attached to you.

6/ Donovan looks cautious but encouraging. Rhiannon, at his side, pipes up as well.

DON: Who’s all around us?
DON: The GHOSTS?
RHI: Are they the shiny ones or the dark ones?

PAGE TWENTY

1/ LONG PANEL, from behind Link’s head. We not only see Donovan and Rhiannon standing before him, but all around the trio stand a multitude of dark, vaguely humanoid figures. They gather in a cluster and stare at the three living souls in the room. Donovan and Rhiannon look around at them, startled.

RHI: And that would be a psychic UPLINK.
RHI (smaller font, to Donovan): The kid just plugged in and gave us a JUMP-START.

DON: Link…these are the Dark Ones? The ones that are still mostly human?

LINK: Yeah. They don’t mind it as much when I work with them.
LINK: The shiny ones seem kinda shy.

2/ On Rhiannon as she stares at Link, amazed. She pushes one last time.

RHI: Can you show us, Link?
RHI: What you can DO, here?

3/ On Link, looking frightfully down at the floor. Tears roll down his cheeks and his eyes glow the tiffany blue that we’ve come to associate with particularly strong uses of mental ability. He shrugs self-consciously.

LINK (very small font): Okay.

4/ Link’s young hand reaches out, his index finger extended. As he does, one of the dark forms in the room follows suit, reaching out its own appendage and extending what appears to be a finger to touch Link. Where the two fingers meet, a flash of light appears.

5/ Donovan turns around and freezes, unsure of how to react. His eyes are wide with shock as he takes in what has happened around him.

DON: Oh, my God.

6/ LONG PANEL, virtually the same as the first on this page, except that the dark figures have all taken distinct human form. The room is now full of people, and they stare expectantly at the three living humans in the middle of the throng. They look basically alive, except that they have cold white skin and old, weathered clothing. Rhiannon and Donovan stare in disbelief.

RHI: That’s…IMPOSSIBLE.

PAGE TWENTY-ONE
1/ CUT BACK to the Akashi, as Mark and Andrew follow closely on Denabe’s heels as he makes his way into the Akashi encampment. All around, we see wicker huts and small buildings made out of found objects. Tribe members gather around fearfully, aware of the impending conflict. A small fire pit burns in the center of the village, and the trees are cleared to make room for a common area in the midst of the main patch of homes. Mark pleads with Denabe as Andrew remains cautiously a few steps behind.

MARK: Denabe, please!
MARK: Help me understand what’s HAPPENING, here!

2/ Denabe turns angrily, mustering as much patience as he possibly can and coming up short. He tries to explain, but clearly has other things on his mind.

SHAMAN: The Bakii have long been at WAR with us, but recently…
SHAMAN: …the BALANCE has been TIPPED.

3/ Andrew perks up, curious.

ANDREW: The balance has tipped?
ANDREW: How so?

4/ Denabe continues his sojourn into the camp, with the two white men in tow. He talks as he walks, and they struggle to keep up. All around them, people place large slate slabs in front of the doors to their fragile homes, bustling about as they prepare.

SHAMAN: They have been AIDED.
SHAMAN: They have WEAPONS we don’t know how to FIGHT.
SHAMAN: There is an OUTSIDE INFLUENCE.

5/ Mark looks confused, stepping back a pace as he looks around curiously.

MARK: Aided? But who - ?

6/ Denabe turns angrily, grimacing at Mark as he officially runs out of patience.

SHAMAN: It does not MATTER!
SHAMAN: They are here. If you are to fight by our SIDE, then READY yourself.

PAGE TWENTY-TWO

1/ LONG PANEL as bare feet coming running through the jungle, leaping over broken trees and stumps of plant life. They wear red stone bracelets around their ankles, and we hear a tell tale clicking of metal as they approach the waiting Akashi.

SOUND EFFECT: CLICK CHAK CLICK

2/ Denabe hands large gray tablets of slate to Mark and Andrew, gesturing that they should take them to defend themselves. He frowns apologetically, sorry that this is the only defense they have to offer their friends.

SHAMAN: Take these.
SHAMAN: They are only SLATE, but they are PSIONICALLY REINFORCED. They will defend you as well as anything ELSE we have to offer.

3/ Andrew looks at his slate shield in frustration, racking his brain.

ANDREW: I can’t make any SENSE of this!
ANDREW: I’m trying to work with the INFORMATION, try and put anything like a PLAN together…but I just don’t have enough to WORK with!

4/ Mark turns to Andrew, grabbing him by the arm to snap him out of it. Andrew looks around them and his heart sinks visibly.

MARK: Uh…Andrew?

ANDREW: Yeah. This qualifies as a serious PROBLEM.

5/ All around them, lining the edges of the jungle that creep up on the Akashi camp, are the Bakii. They look not entirely different from the Akashi, except that they have a redder skin tone and more pale, less mystical looking forms of dress. They would seem to be far less impressive than the Akashi, save for one thing: they are armed to the teeth with automatic weapons, all trained on the center of the camp where Mark, Andrew, Denabe and his guards stand combat ready, shields up. The guns click as they find their targets.

SOUND EFFECT: Chik chak click chuk

PAGE TWENTY-THREE

1/ LARGE PANEL as we CUT TO Milo, walking through a long hospital corridor and talking to David on his cell phone. Behind him, the day in-day out hustle and bustle of a hospital rages on as nurses push gurneys with patients around and doctors stop to speak to each other near various room. Milo looks worried, but optimistic.

MILO: Yeah, I’m there now.
MILO: No, no. You’re fine. Go to work.

2/ Milo rounds the corner to enter the hallway in which Chris’s room is found, still talking on his phone. He gestures dismissively, trying to remain positive.

MILO: Well, no.
MILO: I mean, if it were some kind of EMERGENCY, I’m sure the hospital would have CALLED me. It’s just a bad FEELING.
3/ Milo POV as we see the commotion coming from Chris’s room. A male nurse is sent flying from out of the room, toppling into a pile on the cold hospital floor. Several bottles and medical tools come spilling out of the room behind him, accompanied by a terrible crash.

SOUND EFFECT: KKRASHH

NURSE (from inside room): GET SOMEBODY DOWN HERE, FAST!

1/ LONG PANEL, extremely close, as Milo says goodbye to David on the phone, his face suddenly a picture of alarm and concern.

MILO: David, babe?
MILO: I gotta GO.

PAGE TWENTY-FOUR

1/ Milo bursts into Chris’s room, and we see only part of the melee taking place on the hospital bed. A male nurse is apparently on top of Chris, struggling to get him under control, his scrubs and white shoes flailing about as he tries to restrain his patient. Milo struggles to figure out what he should do.

CHRIS (off panel): MILO! MILO!!!

MILO: What’s going ON here?
MILO: What’s HAPPENING?!

2/ The nurse turns to face Milo, Chris’s hands flying up in his face as he continues to restrain him.

NURSE: Who the hell are YOU?

3/ On Milo as he stares angrily. He levels his eyes with the nurse, challenging.

MILO: I’m MILO, dammit.
MILO: I’m the one he’s SHOUTING for!

4/ The nurse continues to fight with Chris, and we can see Chris (sort of) fully for the first time. He looks terrible, the virus having taken hold and left lesions all over his body, his skin discolored. He scratches and claws at the nurse, looking terrified as he looks over at Milo.

NURSE: He hasn’t been this strong in TWO WEEKS!
NURSE: He’s been having these NIGHTMARES, and suddenly he started thrashing UNCONTROLLABLY like this!

NURSE: He’s too STRONG, we can’t STOP HIM!
NURSE: You have no IDEA how many DRUGS we pumped into him to try and STOP this!

5/ Chris looks up at the nurse, pleading in terror.

CHRIS: Milo!
CHRIS: Milo, please, I have to talk to MILO!

6/ Milo swoops in, appearing at the side of Chris’s bed. He looks at Chris lovingly and his eyes suddenly glow tiffany blue. He reaches a hand out and strokes Chris’s head.

MILO: Chris! I’m here, sweetie.
MILO: What’s WRONG?

PAGE TWENTY FIVE

1/ The nurse relaxes, no longer needing to restrain Chris. He eases off, and oceans of sweat roll down his face and soak his scrubs.

NURSE: He’s stopped.
NURSE: He’s calm.

2/ Milo turns to the nurse, gestures toward the door gently and thankfully.

MILO: Can I ask you to leave us ALONE for a minute?

NURSE (off panel): Of course.

NARR (MILO): Like I said, I resent the dreams. I resent them because of everything they ARE. Everything they MEAN to me.

3/ Chris looks up at Milo, peacefully now that he’s been calmed down. His eyes are glassy, his skin sallow. He smiles awkwardly, ashamed to have caused a scene.

MILO (off panel): Chris, what’s wrong?

CHRIS: Everything, Milo.
CHRIS: You don’t know where I’ve BEEN. You have to SEE it.

NARR: Because they FRIGHTEN me? Sure.
NARR: Because I think they’re important, but I don’t know WHY? You bet.

4/ On Milo, looking confused and scared. He senses what’s about to happen and knows he’s helpless to prevent it. He reaches out, touches Chris gently.

MILO: I don’t know what you’re TALKING about, Chris.

NARR: But mostly, in the grand SCHEME of things? I guess I just resent them because they REMIND me.

5/ LONG PANEL, very close on Chris as he locks eyes with Milo. This was all he wanted, to get this final message across to his Ex-lover and to do it himself. His eye contact never wavers.

CHRIS: Oh, you will. They’ll pass from me to YOU, now. That was my purpose.
CHRIS: You were too strong to let them in on your OWN, so I have to GIVE them to you when I LEAVE.

6/ On Milo, starting to cry as he grasps the gravity of the moment, trying to think anything other than the obvious as he fights the truth with all his might.

MILO: When you LEAVE?
MILO: Chris, what - ?

NARR: They remind me of the day that started – and ENDED – with Chris.

7/ Chris’s head turns to the side, his eyes close, and he smiles. It’s a faint smile, but it’s there. His eyes never open again, and the color drains from his face.

MILO (off panel): Chris?
MILO: Oh, my God.

PAGE TWENTY-SIX

1/ FULL PAGE SPLASH as Milo climbs on top of Chris’s bed, clinging to the body of his now deceased former partner. He sobs into Chris’s chest as the EKG machine next to the bed signals Chris’s death in one long, droning tone, punctuated by a single green line that seems to stretch on forever. Milo’s body shudders with his desperate cries, and Chris’s hand slinks off the side of the bed, devoid of life.

MILO: No, Chris, come BACK!
MILO: Oh, God, CHRIS!

NARR: They remind me of the day Chris DIED…

MILO: I’m sorry, Chris…
MILO (small font): I’m sorry.

NARR: …RIGHT BEFORE MY EYES.

Next – Dreamcatcher!