Knights of Columbus #23

Issue Twenty-Three: “The Last Gorilla Medium, part 2: Storms.”

PAGE ONE

“Previously” page.

PAGE TWO

1/ Long Panel, Establishing Shot, as we see the Skyline of the city of Columbus. The storm has rolled in in force and the rain now cascades down on the city in sheets, casting the entire town in a gray pallor. It is early evening, but the pervading storm prevents the sun from breaking through.

CAPTION: Downtown.

NARRATION (ANDREW): Part of the trouble in running a team like this is that you have to possess a pretty strong understanding of RIGHT and WRONG.

2/ We see Andrew, walking down High Street midway between Long and Gay, a vast expanse of parking lot next to him as he lets the rain fall meaninglessly on his head, absorbed in a cryptic conversation on his Cell Phone.

ANDREW: I need to know you're committed to this.
ANDREW: When I say go, the mission is a go, and backing out is no longer an option.

NARR: You're gonna go up against things that blur the line of your understanding. It's just part and parcel of the whole deal.

NARR: You accept that, or you don't.

3/ Pull in closer, and we see his look of stern determination as the rain runs down his face in rivers, filling the all-too-prominent stress lines that have marked his face as the team's complications has begun to wear on him.

ANDREW: And the girl? I know she's got your EAR.
ANDREW: She's going to be as much a part of this as YOU are, if things take a turn for the worse.

ANDREW: And she's prepared for that?

NARR: But every now and then, knowing what's right and knowing what's wrong become a lot less intuitive than it NORMALLY is.
NARR: When everything gets turned around on you, and the concepts of LOYALTY and GOOD JUDGEMENT seem like a luxury you CAN'T afford?

4/ Andrew stops, standing idle in the middle of the sidewalk, as he looks down at his watch, still holding the phone to his ear.

ANDREW: Alright. As long as I have your word.
ANDREW: No...they don't know ANYTHING.

ANDREW: No, I don't suspect they WILL be happy with me.
ANDREW: It's 1800 hours. I'll be in touch in 3.

NARR: That's when you see how you REALLY hold up under pressure.

PAGE THREE

1/ Cut to a Long Panel as Donovan sits on his bed in his apartment, staring mindlessly at his old Priest's outfit as he waits in the dark. The main source of light is the window to the right, and the light coming in from that window is dim as the rain pounds against the window.

CAPTION: Donovan's apartment.

2/ Donovan holds up the white Priest's collar that once adorned his neck, looking at it regretfully as he remains motionless on the bed.
3/ On Donovan's knee as he drops his hand to his leg, letting the collar hang limply from his hand as he collapses in frustration and confusion. A voice comes from out of sight.

RHI (off panel): Donovan?

4/ Large Panel as Rhiannon stands in the small archway between the kitchen and the living room, the light from the now unoccupied Bathroom shining into the kitchen and illuminating her. She wears a sparkling, dark blue evening gown – its shining sequins catching the light of the Bathroom and making her look significantly brighter than the image of Donovan we just saw, saddened and defeated. Her hair is done superbly, making her look like the classic image of a young woman prepared for a Grand Ball – which is, of course, exactly what she is. She's obviously been in the Bathroom getting ready, but now she's good to go and she looks curiously at Donovan with her arms folded across her chest, leaning against the wall.

RHI: What's the matter?

PAGE FOUR

1/ Donovan turns to face her, his face sober and distraught.

DON: I haven't told you.
DON: I'm being excommunicated.

2/ Rhiannon's face turns from being warm and encouraging to shocked sadness. She looks at him sympathetically, knowing how important and upsetting this must be for him.

RHI: Oh, God...
RHI: Don, I'm so sorry...

3/ Long Panel as Donovan looks down at his open, upturned palms, examining his hands as extensions of himself, and therefore instruments of his downfall. His face is expressionless, the frustration and disappointment having been there for so long over this matter that he's begun to lose his connection to the reality of it.

DON: No, it's...it's okay.
DON: I mean...it's my OWN fault, really.

DON: I moved here for this team, and I got so wrapped up in all of the craziness and the new IDEAS, I kind of lost TRACK...
DON: Do you know that the meeting regarding my excommunication was the first time I've ever actually been INSIDE the Josephinum?

4/ Rhiannon walks closer, putting a hand on his shoulder comfortingly. Her face remains grim, knowing that right now he needs a sounding a board, not a cheering up.

RHI: Well, you're part of something BIGGER, now.
RHI: It's only natural that you've had a hard time focusing on your OLD life.

5/ Donovan looks up at her, his face a mask of scrutiny as he judges himself harshly.

DON: I guess.
DON: My whole LIFE, I've wanted to be a PRIEST. My FAMILY wanted it.

DON: Once I have the chance to, I move to a new city and don't bother to check in with my new SCHOOL for a whole SIX MONTHS? I really let the BALL drop, here.
DON: My DAD would be very disappointed.

PAGE FIVE

1/ Long Panel on Rhiannon, as she looks down at Donovan seriously. She scolds him for his shortsightedness, but she does it gently and firmly, not harsh or cruel.

RHI: You're not DEFINED by your role in the CHURCH, Donovan...
RHI:...or by what your FATHER wanted you to BE.

RHI: You're a HERO, and you're on the FOREFRONT of something HUGE, here. Be PROUD of that.

2/ Donovan glances sideways up at her, smiling weakly for a moment as he accepts her words of comfort.

DON: No, you're RIGHT. And I KNOW that.
DON: Look, I...I was afraid to TELL you, thinking you might see me as a FAILURE or something...

3/ He now looks up to face her directly, his expression serious and resolute.

DON: ...but I've decided to LEAVE the Church.
DON: I'm not facing the EXCOMMUNICATION. The Church isn't my PATH anymore, anyway.

DON: I've decided to SPARE them the PAPERWORK and show MYSELF the door.

4/ Long Panel as Rhiannon smiles at him, encouragingly. She reaches out a hand to him, offering to pull him up off the bed and help him get ready.

RHI: All that matters, Donovan, is that you know you're doing what's BEST for you.
RHI: As long as that's the CASE? I'll never be disappointed in you.

RHI: But right NOW? We have a big GRAND BALL to go to, in honor of US.
RHI: SOMEBODY out there appreciates us exactly as we ARE.

PAGE SIX

1/ Cut to a Long Panel, as we find ourselves on the deserted Olentangy Bike Trail, looking down the path in the gray, pouring rain as it winds alongside a tall concrete wall separating it from the highway. Along the opposite side from the concrete wall, a small wooden fence sits alongside a break in the foliage, showing a path that leads down into the woods below.

CAPTION: The Olentangy Bike Trail.

2/ We now find ourselves looking down the small dirt path, and the Olentangy river itself can be seen through the bushes and trees, thundering along as it picks up water from the storm. Tree trunks span the width of the river, covered in moss. A Blue Heron plods along beside the river, bobbing its head.

3/ Close on the mossy ground, beside one of the fallen tree trunks. Suddenly, the wet dirt is disturbed as we see a set of dirty fingers push their way up from beneath the earth, struggling to break the surface. In the BG, the Heron becomes alert, startled by the unexpected disturbance.

4/ Long Panel as the angle shifts, and we see the Heron in the BG take flight as a train rolls by on the elevated Track Bridge that recently carried Link Geblan across the span of the Olentangy. In the immediate FG, amid the dirt and plant-life, we see the full hand burst up from beneath the ground, grasping at the air. The pouring rain strikes the hand, washing it free of the dirt caked in its fingernails.

PAGE SEVEN

1/ This is a FULL PAGE SPLASH, featuring the issue's TITLES, CREDITS, and INDICIA, as Milo bursts up from beneath the ground like a zombie brought to life, crawling and clawing his way to the surface. His midsection is free, and he pulls at the ground before him to drag himself the rest of the way out of the ground. His glasses are squarely on his face, undisturbed by the experience, and the mud and dirt covering his body begins to wash away in the downpour of rain. His hair hangs limply from his head, and his hand reaches out to us, looking enormous as it seemingly claws off the page. Milo is back.

PAGE EIGHT

1/ Cut to Beth, standing in she and Landon's home and looking surprised and confused. The same dim gray light permeates here, the rain pounding against the window outside. As Beth speaks, she finishes pouring a glass of red wine and hands it forward, to an off-panel Landon.

CAPTION: Bexley. Beth and Landon's home.

BETH: SAMSON!?
BETH: You saw SAMSON PAUL!?

2/ On Landon as he accepts the wine. His face is serious, knowing the importance of his words.

LANDON: Yeah.
LANDON: And he had some interesting things to SAY.

3/ Long Panel as Landon sips at the wine, explaining as he glances over the rim of his glass at Beth, knowing that after the conversation they've just had in the reader's absence, she will understand the significance of what he's saying.

LANDON: Basically, he told me that something big was about to happen with you guys.
LANDON: That whatever was going down, it revolved around the fact that Milo was going to be involved in something MAJOR.

LANDON: Something that would “change the rules.”

LANDON: Given what you've told me about the MALICE situation, I'm gonna say Samson was pretty damn SPOT-ON, wasn't he?

4/ Beth glances away, pouring herself a glass and contemplating what Landon has told her. She looks confused, but also a little excited that Samson is running around somewhere.

BETH: God. How could he have KNOWN?
BETH: What about THADEUS? What did he have to say for himself?

5/ Landon turns to set his wine glass down on the console table behind him, using the opportunity to look away from Beth while he makes a major omission to his story.

LANDON: Nothing important.

LANDON: Look...I think you need to know: if Samson wanted to be FOUND, he would make it happen.
LANDON: I think it's best you don't mention this to Andrew.

PAGE NINE

1/ Long Panel as Beth moves forward, pulling Landon into an embrace and burying her head in his chest. She looks off into the distance as she speaks, feeling deeply guilty. Landon rests his chin on her head, looking away as he processes the information. She holds the glass of wine up behind him.

BETH: No, you're right.
BETH: But Landon, there's something I need to tell YOU.

BETH: While you were AWAY...I came very close to sleeping with ANDREW.

2/ Landon pulls away, resting his hands on her shoulders and pushing her away slightly so that he can look into her eyes. His face is fearful, but waits for more information.

LANDON: Define “VERY CLOSE.”

3/ Beth looks down, guilt making her break the eye-contact. She brushes a swatch of hair out of her eyes and bites her lip, afraid she's going to hurt him.

BETH: Nothing happened.
BETH: He came ON to me, in the hotel...

BETH: We were a little DRUNK, but I stopped him before we got past FIRST BASE.

4/ Closer on Beth, as she expounds. Her face looks a little more determined now, but she still has guilt marring her features.

BETH: I've obviously made some MISTAKES, here.
BETH: I haven't DEFINED things with Andrew clearly enough. I think it's messing him up.

5/ Landon pulls her close, kissing her forehead. She closes her eyes, thankful.

LANDON: We'll cross that bridge when we COME to it, Beth.
LANDON: What matters is that you STOPPED it.

PAGE TEN

1/ Cut to a Long Panel as Andrew continues his travels around town, still speaking into his phone. He wanders down Broad Street, past Rhodes Tower as he speaks. The rain comes down around him, soaking him to the bone.

ANDREW: Mr. Palmer?
ANDREW: Have you received any more information about the situation at the ZOO?

ANDREW: This is very important to us, Mr. Palmer.

2/ Cut to a Long Panel of Milo, making his way across town, heading East on 3rd toward High Street on foot, the rain washing him clean as he moves like a dead man walking, his eyes fixed on his unknown destination. His clothes are still muddy, but his skin has washed almost completely clean.

3/ Cut to a Long Panel as Andrew continues his conversation, closer on him now as he looks angrily ahead, ending his conversation tersely.

ANDREW: Then I'll meet you in half an HOUR. The ATLAS BUILDING.

4/ Cut to a Long Panel as Milo stands at the door to his apartment building, looking up at the dark brick building in the rain, hesitating at the door. The sign for the bar occupying the lower level glows neon blue, looking almost ethereal in the downpour.

PAGE ELEVEN

1/ Close on Milo's hand, inside the yellow-orange lighting of the badly carpeted hallway, as it turns the key in the lock of his Apartment Door.

SOUND EFFECT: Click

2/ We see David, sitting quietly alone on Milo's bed, as Milo's torso and hand enter the panel, silhouetted in the dimly lit room. David turns from staring off into space and looks up at Milo, surprised but mostly numb, given recent events. David's hands rest in his lap, unsure of what to do.

DAVID: Milo?

3/ On Milo, looking strung out and emotionally distraught.

MILO: Chris, we need to TALK.

4/ David looks up at him, feeling a little hurt by the Freudian Slip. He questions Milo.

DAVID: Milo...I'm DAVID.

DAVID: Look, what...what are you DOING here?
DAVID: I got a call from the HOSPITAL, telling me you'd -

5/ Large Panel on Milo as he cuts David off, going into a long speech. His face is stoic, his mind made up. There will be no arguing with him now.

MILO: Whatever I AM, whatever has HAPPENED to me...
MILO: I'm not the same as I was before MALICE.

MILO: There's something at WORK here that's bigger than ALL of us, and it's not SAFE for you or anyone else to be this CLOSE to me.
MILO: I'm LEAVING you, David.

PAGE TWELVE

1/ Long Panel as we Cut to a beautifully decorated ball room in a convention center, filled with people in elegant clothing and waiters bustling around with trays full of champagne glasses, all lit with the warm glow emanating from multiple overhead crystal chandeliers. There is a banner along the far wall that reads “Thank you Knights of Columbus,” and a small orchestral group sits on a stage before it, playing soft music. Along one side of the wall we see a series of glass doors opening onto a darkened balcony, and the rain can be seen pouring down outside. The majority of the room is carpeted in deep crimson, but the center is a polished dance floor, and couples waltz together, enjoying the evening.

CAPTION: The Convention Center.

2/ Beth and Landon enter, dressed in formal wear, and notice Donovan and Rhiannon standing by a table with a punch bowl and h'ors d'evours. They too are dressed for the occasion, Rhiannon in her Ball Gown and Donovan in a classy, well-tailored suit with a crimson tie. Landon wears a suit with blue accents and Beth wears beige dress-pants and a nice white blouse with flowing designs. They both carry dark overcoats slung over their arms, having just walked out of the rain. They smile when they greet Donovan and Rhiannon, approaching them. Donovan raises his champagne glass in salute.

BETH: Guys! How weird is this?

DON: Nice to be pampered.

RHI: Seriously. Palmer or the MEDIA may not have much nice to say, but at least they like us here on the HOMEFRONT.

3/ Rhiannon and Beth exchange a quick hug as Don and Landon watch, Don glancing down into his drink. Beth motions over toward an off-panel coat check while Rhiannon smiles, acknowledging her.

BETH: I'm gonna go check our coats and grab a drink.

RHI: Okay, cool. I see somebody I know, so I'm gonna go say hi. I'll be around.

4/ Long Panel as Landon follows after Beth, passing Don. The two smile at each other.

DON: Landon, good to see you BACK.

LANDON: Good to BE back, Donovan. We'll see you in a few.

PAGE THIRTEEN

1/ Across the room, Allison Whit sits at a bar, slowly nursing a drink. She's dressed in a dark green Evening Gown, and she looks forward, not noticing as Rhiannon approaches in the BG.

RHI: Allison!

2/ Allison turns around, facing her. She smiles, raising her glass in toast.

ALLI: Rhiannon. Enjoying yourself?
ALLI: Not every day one gets a CELEBRATION thrown in one's honor.

3/ Long Panel as the two women talk. Rhiannon moves past the pleasantries and gets down to business, Allison turning serious as well.

RHI: Ha. I suppose not.
RHI: Look...I've been making some phone calls.

ALLI: Oh? And how goes that?

RHI: Not great. Our team director's working hard to talk our Government Contact down, get him to pull some strings and put a STALL on this APE situation. But Palmer...he's kind of...UNPLEASANT.

ALLI: Do you think they'll LISTEN?

RHI: I don't know, but we can TRY.

4/ On Rhiannon, talking under her breath to Allison as she glances around a little nervously.

RHI: Either WAY, we need to start considering what we're going to DO if I CAN'T pull through for you on this.
RHI: Legal or NOT, I have no intention of letting those Apes DIE.

5/ Allison puts her drink down and looks seriously at Rhiannon, almost criticizing Rhi with her eyes.

ALLI: Uh, Ms. McRhea...
ALLI: I have no INTENTION of DEFYING the Government on this.

ALLI: If you can't talk them DOWN, then I am ABIDING by the LAW, here.

PAGE FOURTEEN

1/ Rhiannon looks taken aback, almost angry.

RHI: But, Allison...
RHI: What if the LAW is WRONG?

2/ Allison swivels around on her bar stool, crossing her arms and making point-blank eye contact with Rhiannon. She faces her sternly, not letting Rhi talk her into active defiance.

ALLI: It's the LAW, Rhiannon.
ALLI: It's not about RIGHT and WRONG, it's about LEGAL and ILLEGAL.

3/ Rhiannon returns Allison's stern look, condemning the issue, almost pleading with Alli.

RHI: I know, I know...
RHI: But...it USED to be the law that owning SLAVES was okay. It used to be the law that BLACK PEOPLE had to drink from different FOUNTAINS. It used to be the law that WOMEN couldn't VOTE.

RHI: It's CURRENTLY the law that GAY PEOPLE are second -class CITIZENS. You really think upholding those laws was- or IS – the right thing to DO?

4/ Allison looks away, nodding that she understands Rhiannon's point, but doesn't agree in this case.

ALLI: You're RIGHT – some laws are WRONG.
ALLI: But there are LEGAL ways – PROPER ways – to get those laws CHANGED. We don't REVOLT.

ALLI: This isn't CUBA.

5/ Rhiannon looks away as well, biting her lip as she considers the seriousness of what she's saying.

RHI: Okay...but what if REVOLUTION is the only WAY?

ALLI (off panel): What?

RHI: What if the shift in the POLITICAL LANDSCAPE – in the CULTURAL landscape – is SO extreme that nothing's gonna make it right any time soon ENOUGH? Before GOOD PEOPLE get seriously HURT?
RHI: What then?

6/ Allison picks up her drink, swirling it around a little as she prepares to take a sip.

ALLI: I stand by my COUNTRY, Rhiannon.
ALLI: I stand by AMERICA.

PAGE FIFTEEN

1/ Rhiannon looks at her, begging with her eyes for Allison to understand.

RHI: America's not a PLACE, Allison. It's a collection of PEOPLE.
RHI: When does it become our JOB to protect a PLACE if that means hurting PEOPLE who haven't done anything WRONG?

2/ Allison takes a sip from her glass and looks at Rhi over the rim, raising her eyebrow.

ALLI: They're APES, Ms. McRhea.
ALLI: Just apes.

3/ Rhiannon gets angry, leaning in closer.

RHI: Goddammit, I KNOW you don't believe that.
RHI: But, okay, FINE. Let's say they're just APES. What're WE?

RHI: God, look...how's the saying GO?

4/ Rhiannon looks at Allison importantly as she recites, her eyes showing the intensity of her passion on this issue. Around her, the party still bustles.

RHI: First they came for the COMMUNISTS, but I didn't speak up, because I wasn't a communist.
RHI: Then they came for the JEWS, but I didn't speak up, because I wasn't a JEW.
RHI: Then they -

5/ Long Panel as Allison stands, making as though she's about to walk away. She sets her empty glass down on the bar and picks up her purse, looking scoldingly at Rhiannon.

ALLI: Okay, Rhiannon?
ALLI: I don't think I can continue this conversation with you any longer.

ALLI: Goodnight.

6/ Long Panel as Rhiannon stands in shock, Allison pushing past her and disappearing into the crowd. Rhiannon does not follow her with her eyes, but remains looking forward, shaken.

PAGE SIXTEEN

1/ Cut to Beth, on the other side of the ballroom, looking down into a glass of sparkling champagne. She looks contemplative as she speaks, addressing an off-panel Landon.

BETH: I've just been THINKING...
BETH: There's a very CLEAR line that needs to be DRAWN with Andrew, and I've never DONE that.

2/ Landon looks at her, sipping his own drink.

LANDON: How so?

3/ Long Panel as the two of them talk. Beth gestures with her hands as she speaks, and Landon looks on, curious to hear what she thinks.

BETH: There've been no...PARAMETERS established. For our FRIENDSHIP, I mean.
BETH: He's got it into his head that sooner or LATER, he and I are still going to...HAPPEN.

4/ Landon raises an eyebrow, looking skeptical.

LANDON: And you're NOT, then?
LANDON: Going to “HAPPEN,” I take it?

5/ Beth Smiles at him, teasingly.

BETH: Landon...
BETH: I know who I LOVE.

BETH: I know who makes me HAPPY.

PAGE SEVENTEEN

1/ Long Panel as Landon smiles at her, wiggling his finger in the air in faux confusion as he looks at her questioningly, joking with her.

LANDON: And just for the RECORD...
LANDON: That's ME, right?

2/ Beth shoots up a pretend angry eyebrow, smiling wickedly at him.

BETH: I'm going to PRETEND you didn't just ASK that.
BETH: Of COURSE it's you.

3/ Landon takes a drink, switching gears and looking genuinely interested in the conversation.

LANDON: Well, what do you think it's going to TAKE to get THROUGH to him?

4/ Long Panel as Beth gestures with her glass, a little champagne sloshing past the rim.

BETH: Well, honestly, I think violently pushing him AWAY back in NEW HOPE was a good START.

PAGE EIGHTEEN

1/ Landon looks at her seriously, not letting her off the hook that easily.

LANDON: But you ARE eventually going to have to TALK to him about it.

2/ Beth looks down, dreading that conversation.

BETH: Yeah.

3/ Long Panel as they both put down their glasses, looking away from each other. Beth looks out into the crowded Ball Room, and Landon turns back toward the table, reaching for a snack.

BETH: I figure after this BALL, maybe the HIGHER-UPS will see sense and lay OFF of us for a change.
BETH: Once things calm DOWN, I should have a chance to sit him down and work this out.

4/ Landon looks at her and smiles.

LANDON: Well, go easy on the guy.
LANDON: I mean, his only CRIME is falling in love with YOU.

5/ Beth smiles and holds out her hand, beckoning him to the dance floor.

BETH: Is that SYMPATHY for ANDREW MACTIERNAN I hear?
BETH: I believe that earns you a DANCE, sir.

PAGE NINETEEN

1/ Cut to a Long Panel as we see Rhiannon from behind, standing outside on the balcony. There's an overhang that protects this part of the balcony from rainfall, and she stands beneath it. She leans against the stone railing, watching the rain pour down, as lightning turns the sky into a fireworks show. In her left hand, resting on the railing, we see a smoldering cigarette, half-smoked. It is now officially night time, and the lightning fills the night sky with a bright white streak.

DON(off panel): Rhiannon?

2/ Angle reverse, and we see Rhiannon, facing forward, as Don approaches from behind, cautiously. He carries two glasses of champagne with him, and he looks at her back apprehensively, afraid she's upset about something.

RHI: You know...I used to worship storms.

3/ Donovan walks up beside her, taking a spot along the railing and setting down the drinks without tasting one or offering it to Rhi. It doesn't seem like the appropriate time for drinks, so he faces her and lets her say what she wants to say, smiling at her patiently.

DON: Used to?

4/ She turns to him, smiling sheepishly through her thoughtfulness. He looks away from her, laughing quietly as he looks down into the storm.

RHI: Yeah, not so much anymore.
RHI: The older you GET, you know?

DON: Heh. Tell me about it.

5/ Closer on Rhiannon, looking back at the rain and thinking.

RHI: Still, though...
RHI: There's something ABOUT them.

RHI: The way lightning tears the sky in half. Sometimes even turns night into DAY? It's beautiful.

PAGE TWENTY

1/ On Donovan, looking up into the storm and smiling at his own memory.

DON: When I was a KID, and there would be a big THUNDERSTORM outside?
DON: I used to hide under my BED.

2/ He looks down at his chest, suddenly looking a little sad. Rhiannon looks over at him, noticing his sadness and listening to what he has to say.

DON: At least, that's one of the last things my MOM told me. Before...things got WEIRD.

3/ Rhiannon looks at him in silence for a moment, considering what to say. Lightning flashes, but not as bright as before. Her eyes look a little watery, but not quite on the verge of tears.

4/ She looks away, choosing to change the subject. Or at least, to partially change the subject.

RHI: Did you know that the same kind of electricity that's in a lightning bolt is what makes SHARKS capable of mapping the ocean FLOOR?

5/ Don looks at her, seizing the moment to think about something else.

DON: Really?

6/ Rhiannon takes a drag from her cigarette, exhaling a plume of smoke.

RHI: Oh, yeah. All sorts of crazy connections, if you know where to look.

PAGE TWENTY-ONE

1/ Donovan looks at her, listening, as she stares off into the storm, elaborating.

RHI: For example – it's also how BIRDS travel such ridiculous distances with such great ACCURACY.
RHI: All living things have that electromagnetic current running through them.

RHI: Some people even say that CHI -

2/ On Rhiannon as Donovan interrupts, smiling. She grins back at him, amused by the stereotype he mentions and running with it. She flicks her cigarette out into the rain.

DON: Like “harness your CHI?” That kind of CHI?

RHI: That's the one.

3/ Long Panel as they lean together against the railing, both looking off into the rain. Rhiannon folds her hands together and Donovan gently rests his own hand on her forearm.

RHI: Some people say that THAT'S an electromagnetic phenomenon, TOO.
RHI: That this SPIRITUAL force in your BODY is no different than what those SHARKS and BIRDS use.

RHI: I guess I don't know what I think about all THAT.

4/ Rhiannon turns to look at him, her eyebrows raised in thought.

RHI: I do know that we have a BIO-ELECTRIC FIELD, though.
RHI: That's why we're so susceptible to STATIC ELECTRICITY. When your hair stands up, and you know you can feel a lightning storm coming?

5/ She looks away, turning back to the storm.

RHI: That's why.

PAGE TWENTY-TWO

1/ Rhiannon turns and begins to walk away, heading toward the edge of the overhang where the rain pours down freely over the remainder of the balcony. Behind, Donovan remains in place for a moment, watching her walk away from him quietly.

RHI: That's probably why I worshiped them, really.

2/ She reaches out her hand and holds it up into the torrential downpour, letting the water splash against her fingers and palm, watching it in awe as it strikes her and rebounds, splashing off in a million different imperceptible directions. She smiles slightly, remember the feeling she once had about these natural phenomenon.

RHI: Chi or NO chi, it's nice that there's this ONE phenomenon in nature that makes you REALLY AWARE of this ineffable force INSIDE you.

3/ Long Panel as Rhiannon turns back over her shoulder to face Donovan, and we can see the long stretch of Balcony ahead of her where no overhang exists and the rain pours freely. She looks at him seriously, almost hopefully, her eyes looking closer than ever to crying.

RHI: I mean...what if it's your SOUL?

4/ She looks down, thinking. Lightning crashes in the distance.

5/ She looks back up at him, smiling at what she perceives as her own silliness.

RHI: It's probably NOT, but still -
RHI: It would be nice to have some PROOF that you actually HAD one.

PAGE TWENTY-THREE

1/ Large Panel as Rhiannon steps out into the rain, letting it fall all around her, soaking her clothes and hair and washing down her face. She closes her eyes and lets her hands drift out around her, as though she's spinning, but she remains still, offering herself to the storm, arms wide. She looks up, eyes closed, and gives in to the old feeling of being one with the storm.

RHI: And you could just stand out in the STORM, and let it WASH OVER YOU, and you'd KNOW.

RHI: You'd know for SURE that even when things seem REALLY messed up, everything's gonna turn out okay in the END, because there's ORDER in the universe and it's all part of some big picture that makes sense to at least ONE person, on at least ONE planet, in at least ONE galaxy.

2/ Donovan steps out into the storm and joins her, also letting it soak into him. He approaches her and grabs her by the shoulders, forcing her to look at him, and he stares her in the eye. She looks at him sternly.

DON: Rhiannon, I lov -

RHI: Don't. Don't say it.
RHI: Not yet.

3/ We see them, just for a panel, from a distance – as they stand together in the rain, not speaking, not knowing what they'd say in that moment if they DID speak.

4/ On Rhiannon as she breaks the silence, looking at him meaningfully.

RHI: I know how you feel, and I wanna say it TOO – so bad it almost HURTS.
RHI: But it's not TIME, yet. Those words have POWER.

5/ On Donovan, looking down at her in the rain, his hand on her face as she finishes. He searches her face, knowing the truth of what she's saying.

RHI: They mean something PROFOUND...something MAGICAL. Especially to ME.
RHI: I want you to hold onto those words until they're the TRUEST words you've ever heard. Until the whole UNIVERSE is going to spin off its AXIS if you don't say them right then and THERE.

RHI: And then I want you to say them. Say them and NEVER look BACK.

PAGE TWENTY-FOUR

1/ Long Panel as they kiss, standing in the rain and passionately locking lips, letting the water consume them. Lightning flashes brightly in the sky.

2/ Rhiannon pulls away, beginning to walk back toward the safety of the overhang. Donovan looks at her, worried.

3/ As she walks away, stepping out of the rain, Donovan looks after her. He remains in the rain, confused and concerned. He calls out to her.

DON: Rhiannon, what's WRONG?

4/ She turns back to him, angry and saddened. She yells a bit, her body language going rigid.

RHI: She's going to LET THEM, Donovan!

5/ He comes out of the rain, joining her as they stand under the overhang, dripping wet. He looks at her inquisitively as she turns away, handing him her cell-phone.
DON: What? Who?

RHI: Allison Whit.
RHI: I tried to make her see some REASON, but -

RHI: She's gonna let them KILL the APES.

PAGE TWENTY-FIVE

1/ We see the Cell Phone as Donovan looks down at it. It's open to a text message from Andrew. The text reads “Rhi – not going well. Try to stall Mrs. Whit. -And”

2/ Donovan looks away from the text, disgusted.

DON: Dammit.

3/ Rhiannon throws up her hands in frustration.

RHI: I know, I KNOW!
RHI: I don't know what to DO! My gut says I can't let this HAPPEN, but -

4/ Donovan looks at her seriously, knowing what has to be done.

DON: Rhiannon, I think we BOTH know what the right thing to DO really IS, here.

5/ Rhiannon looks at him, searching his face for some alternative. She looks on the verge of snapping.

6/ Finally, she looks away, putting her hand over her mouth in horror at the gravity of what they're discussing. Her face shows just how terrified she is of what happens next.

RHI: Oh, God.
RHI: God, God, God...

PAGE TWENTY-SIX

1/ Long Panel as Andrew walks up to the front door of the Atlas Building, swinging open the door and stepping out of the rain.

NARR (AND): It's like I was saying – you go through life hoping that certain things will always be true. Among them?

NARR: That the people looking OUT for you will ALWAYS be looking out for you, and that you will always find yourself in the position to do RIGHT by those who've helped you out along the way.

2/ Long Panel as he stands in the elevator, reaching out and pressing the button for their floor on a tall stretch of ivory buttons. He drips water like a sopping rag, his hair pressed down and soaking against his apprehensive face.

NARR: But when the people looking out for you become the people who HAVE IT OUT for you?
NARR: When the people who've done right by you decide to throw RIGHT and WRONG out the window?

3/ Long Panel as he approaches the door to the office of the Knights of Columbus. The hallway is lit with soft light, and the red carpet and wooden molding along the printed walls look warm and inviting. Inside the dim office, through the glass on the door, we can see that lightning flashes outside. Andrew fumbles for his keys.

NARR: Well, that's when your understanding REALLY gets tested.

NARR: And that's where you starting wondering what lines you're willing to CROSS.
NARR: It's days like this where you really have to stand back and ask yourself...

4/ Long Panel as Andrew stands in the office, lit only by the green desk lamp on his large oak desk. In the small cone of light offered by the lamp, we can see Mister Palmer sitting in Andrew's chair at the desk, looking up at Andrew expectantly. His hands are folded in front of his face in an arrogant gesture, and his posture is relaxed, like a man who knows he's going to win. Andrew stands in front of him, his back to us, as he drips all over the floor.

ANDREW: Mr. Palmer.

PALMER: Mr. MacTiernan.

PAGE TWENTY-SEVEN

1/ THIS IS A FULL PAGE SPLASH, as the issue ends with a bang – literally. We see the Atlas Building, from outside in the pouring rain. Suddenly, the building is engulfed in flame as a violent explosion rips the top level in the southwest corner of the building apart (the section of the building housing KoC headquarters). The glass explodes outward and scatters down into the street, as the concrete decorative flourishes on the corners of the architecture suddenly crumble under the violent pressure, causing the roof in that corner of the building to buckle. The explosion is SO big, so destructive, that there's no way anyone could possibly be alive in there.
Knights of Columbus headquarters is gone.

NARR: Am I ready for what happens NEXT?

Next – Pillar of Salt.