Knights of Columbus #24

Issue Twenty-Four: “The Last Gorilla Medium, part 3: Pillar of Salt.”

NOTE: Some narration will be added shortly to the scenes with Milo and David.

PAGE ONE

“Previously” page.

PAGE TWO

1/ Long Panel, Close Up on Palmer's forehead, as an unseen worker applies stitches to a deep but serviceable gash across the older man's eyebrow. From what we can see of Palmer's face, he looks deeply annoyed with the recent turn of events.

CAPTION: Elsewhere. Now.

WORKER: ...but all in all, you're lucky to be ALIVE, Mr. Palmer.
WORKER: How did you survive this?

2/ Long Panel, as we see from behind Palmer, looking over his shoulder at three official-looking Government representatives, all looking down at him as he sits on a comfy office chair getting his wounds mended. The three men are backlit by a blinding light, making them little more than hazy silhouettes as they question him about the events in the Atlas Building.

GOV 1: We've been able to determine that MacTiernan wasn't acting ALONE.

GOV 2: Though the rest of the team was otherwise OCCUPIED, he seems to have acted with the help of one SARAH CORDELIA BRUSS, and her partner ADAM FALSTAFF. Man calls himself “Mister WIZARD.”

GOV 3: He has some history with the team.

3/ Large, Long Panel as Palmer sits back in the chair, cracking his knuckles and looking irritated as he puts the pieces together on his own. The medical technician fixing his eyebrow steps back out of the panel as Palmer shifts his weight.

PALMER: That's it, then.
PALMER: Falstaff. He must have cast some kind of PROTECTION SPELL.
PALMER: It's the only way ANDREW could destroy the office without killing us BOTH.

PALMER: Which means it was all a SHOW.

PAGE THREE

1/ Long Panel on the three government Reps, looking down at him from their shadowy figures, betraying nothing. The light behind them is almost painful to look at.

GOV 2: To what END?

2/ Long Panel as Palmer fishes a cigar out of his coat pocket and puts it to his lips, fumbling a silver butane lighter out of his other pocket. He glances up at the men over the shaft of his cigar, raising his damaged eyebrow as he nonchalantly relays the massage meant to be gathered from Andrew's seemingly crazed attack. He almost smiles at the prospect of it, a twisted part of him reveling in the promise of war with the Posthuman movement.

PALMER: To let us know that he's going UNDERGROUND.
PALMER: He's declared WAR on us. THEY'VE declared war.

PALMER: Everything's going to CHANGE, now.

3/ On one of the Shadowy figures, leaning forward a bit as he presses for more information.

GOV 3: Why don't you tell us EXACTLY what happened?

4/ Close on Palmer, his face lighting up with sarcastic glee. He holds his cigar away from his face, not yet lit, as he speaks.

PALMER: My pleasure.

PAGE FOUR

1/ CUT TO the recent past, as the door to the team office opens and we see Andrew's arm and hand as he crosses the threshold. The office is lit by a yellow-orange source light from the desk lamp, suggesting that Palmer is already there.

CAPTION: Atlas Building. Two hours ago.

2/ Andrew stands before the desk, looking down at the person sitting behind it and looking as professionally, insincerely pleased to see him as possible. Andrew is soaked to the bone with rain from walking in the downpour outside.

ANDREW: Palmer.
ANDREW: I'm glad you could make it.

3/ Long Panel as Palmer reclines in Andrew's chair behind the desk. He holds his hands together, cracking his knuckles contemplatively. Beside him, the yellow glow from the green-tinted desk lamp highlights the deep wrinkles etched in the older man's face, showing his displeasure at the sight of Andrew MacTiernan.

PALMER: Likewise.
PALMER: Sit down, Andrew. It's time to talk.

4/ On Andrew, looking pointedly oblivious, batting around what he obviously knows is about to happen. His coyness could be better faked, but he knows that it's about to be irrelevant, and there's no stopping the plans he's already put in motion.

ANDREW: Is this about my request to forestall action against the COLUMBUS ZOO situation?
ANDREW: Because I'm telling you -

5/ Close on Palmer as he levels his gaze, staring Andrew in the eye forbiddingly.

PALMER: This is about telling you that you have used up all your FAVORS from me, Andrew.

PAGE FIVE

1/ CUT TO a Long Panel as David stands outside the door to Milo's apartment, his forehead pressed to the door and his balled up fist slammed against it, resting hopelessly against the wooden door as Milo ignores him on the other side. David has clearly been crying, his face red and tears forming deep etches in his cheeks as he pleads. The dim lights of the hallway cast him in a gray pallor. The metal “4” that hangs over the peephole rests against the top of David's head, glinting in the light.

CAPTION: The Short North. Milo's apartment.

DAVID: Milo.
DAVID: Milo, open the goddamned DOOR.

2/ Long Panel, on the opposite side of the door, as Milo leans with his back against it. He holds his hand to his face in despair, not liking what he's doing but rationalizing it as something he has to do. He, too, has been crying, but he tries desperately to block out David's pleas. He has almost no lights on in the apartment, keeping him in a darkened room. He wears a dark, button-down shirt.

DAVID (through door): Milo, I don't know what HAPPENED to you when Malice...
DAVID: ...when he did what he DID.

3/ Long Panel as we return to David, in the hallway. He steps back, leaning against the door frame with his outstretched arms supporting his weight on either side of the door. He looks at the door, correctly imaging that Milo stands right on the other side.

DAVID: But it has NOTHING to do with you and ME.
DAVID: I don't know what you SAW, but if you DO this -
DAVID: - if you walk AWAY from us because of it -

DAVID: - then you're an even bigger COWARD than I thought.

PAGE SIX

1/ Long Panel, Close on Milo, as he reaches his finger up and wipes his wet nose horizontally. He opens his eyes, looking painfully off into the darkness of his apartment. David continues.

DAVID (though door): You think you can curl up in a ball and shut out the world because you're such a VICTIM...
DAVID: ...but it's a JOKE and you KNOW it.

2/ Long Panel, back in the hallway, as David leans bodily against the door, wracked with sobs. His forearm rests against the door, his forehead buried in the crook of his elevated arm. His free arm forms a fist against the upper portion of the door, his anger causing him to twitch involuntarily.

DAVID: Everybody goes through HARDSHIPS, Milo.
DAVID: Everyone has things in their LIFE they wish they could ERASE.

DAVID: But you're only a VICTIM if you let it MAKE you one.
DAVID: You're only a victim if you let it take away your power to FIGHT for something.

3/ Long Panel, Closer on Milo, as he turns his head to the side. He squeezes his eyes shut tight, tears flowing freely now.

DAVID (through door): And you gave up on FIGHTING a long time ago.
DAVID: Nobody took it from you.

DAVID: You threw it AWAY.

PAGE SEVEN

1/ Long Panel as we CUT TO Beth and Landon, laying down together on their bed in the dark, streetlamps from outside shining into the window and giving them an almost ethereal, unreal feeling to their two silhouetted figures. Landon lowers Beth to the sheets slowly, gently, his arm blocking the view of her naked breast. He looks down at her, smiling slightly. She smiles up at him.

.CAPTION: Bexley. Beth and Landon's house.

2/ Beth looks up at Landon, the smile disappearing and her face suddenly going sober. She stares up at him with a deeply serious look, though not at all a bad one. She brushes a chunk of blond hair from her eyes.

BETH: Landon...thank you.

3/ Landon leans down and kisses her neck, causing her to tilt her head backward as she lets him touch her gently. She raises her hand up and runs it through his hair, his own hand appearing behind her neck.

LANDON: For what?

4/ Long Panel as Beth sits up in bed slightly, Landon's broad shoulders blocking the view of her body. She brings herself up on her left arm, her right hand reaching out to touch the side of his face. She locks eyes with him meaningfully.

BETH: For putting up with me.
BETH: For understanding when I'm weak.

BETH: For forgiving me for my MISTAKES.

PAGE EIGHT

1/ Landon leans forward and kisses her forehead, using his free hand to pull her closer into the kiss by the back of her head. She looks away momentarily, clearly wanting him to understand what she's saying.

LANDON: We've both done things we're not PROUD of, Beth.
LANDON: But there's a BIG PICTURE, here, and in it? Those things don't MATTER.

2/ Close on Beth, looking at him seriously.

BETH: I don't think you understand.

3/ Long Panel as Landon pulls away a little, looking at her patiently as she explains. She looks at him importantly, passionately, as she tries to get across the feeling she's experiencing. She pulls the sheet up to cover her breasts while she speaks, and Landon reaches out, resting a hand on her bare arm.

BETH: I've come to realize...
BETH: ...that we didn't meet by CHANCE.

BETH: It wasn't some ACCIDENT that you came into my LIFE. We were BROUGHT together.
BETH: By something bigger than all this.

4/ Landon leans in closer, preparing to kiss her, and she looks up into his eyes, still explaining. He smiles slightly while looking at her, trying very hard to not reveal that he still hasn't mentioned Thadeus's revelation to Beth.

BETH: You've made me BELIEVE in something, Landon...and nothing will ever -

LANDON: Beth.

5/ They kiss, Beth closing her eyes and giving in to it. Landon, too, closes his eyes, kissing her deeply and sensually, putting an end to the conversation as he brings his hand up to her face, pulling her more deeply into the kiss.

LANDON: Stop.

PAGE NINE

1/ CUT TO Donovan, looking painfully at his white Priest's collar as he holds up in the air, letting it burn over a red Bic lighter he holds crackling beneath it. He has returned to his apartment in Clintonville, and he sits on his knees in the living room, in dim lighting.

CAPTION: Clintonville.

DON: Our father, who art in Heaven...
DON: Hallowed be thy name.

2/ On the small wooden altar before him, reaching up only to his waist as he sits on the floor, we see a wooden bowl next to a ceramic statue of Mary. He drops the flaming color into the bowl, its cinders flying up into the air as it sparks with fire.

DON: Thy Kingdom Come, thy will be done...
DON: On Earth, as it is in Heaven.

3/ He closes his eyes and assumes a position of Prayer, his clasped hands held out in the air over the flaming bowl, smoke rolling up around him in wispy plumes.

DON: Give us this day our daily bread, and forgive us our trespasses, as we forgive those who trespass against us.

DON: Lead us NOT into temptation...

4/ Close on Donovan, as he looks up at the Altar and opens his eyes. His face has gone from mournful regret to bitter frustration, as he steels his resolve to this new decision.

DON: But deliver us from EVIL.
DON: For THINE is the Kingdom, and the Power, and the Glory.

5/ Long Panel as Donovan remains in the prayer position, looking sincerely at the Altar as he speaks to himself, to nobody and to God.

DON: I'm sorry, Lord -
DON: But I have to FORGO the Path I once thought had been laid OUT for me.

DON: I do not turn my back on YOU, Lord. Only on the man I thought I was SUPPOSED to be.

PAGE TEN

1/ Long Panel as Donovan continues, the angle pulling back some so we can see the whole image of him kneeling at the Altar as the smoke rolls up into the dim light around him. On the other side of the statue of Mary, we see Donovan's rosary beads, coiled up, left aside.

DON: I don't do this out of FEAR, or COWARDICE.
DON: I do this because the path I CHOSE is not the path I'm meant to FOLLOW.

2/ Long Panel as Donovan continues, closing his eyes tight, his hands still clasped together. It's a closer shot, but not quite a close up, as we see him over the shoulder of the statue of Mary. Her back is to us, and she fills one side of the panel, very close.

DON: Please, God...
DON: Understand that I do this to be a better MAN.

RHI (off panel): Donovan?

3/ Long Panel as Rhiannon enters the room, now wearing street clothes, with a light jacket. Her face is all business, prepared for the crazy task they're about to embark on together. She folds her arms across her chest, her face showing little emotion.

RHI: Let's do this.
RHI: Before I lose my NERVE.

PAGE ELEVEN

1/ CUT BACK to a Long Panel of Andrew, standing in the team office and gesturing angrily as he yells at Mr. Palmer. Andrew's face is contorted with frustration. He honestly hoped it wouldn't come down to committing the act he now knows he's about to commit.

ANDREW: You can't shut us DOWN!
ANDREW: You have no GROUNDS!

2/ Long Panel as Palmer looks up at him across the desk, his face stoic and resolved. He he waves a manila folder in the air, preparing to open it and present the contents. He raises his eyebrow slightly, challengingly.

PALMER: I can do whatever I see FIT to do, Andrew.
PALMER: And I certainly deem this FIT.

3/ Palmer drops the manila folder, taking out papers and waving them at Andrew. They contain headlines like “CRIME FIGHTER THREATENS CITY IN BROADCAST,” and “RUMORS CIRCULATING AFTER TEAM'S 3-DAY ABSENCE.” Palmer is beginning to get angry, and his body language shows it.

PALMER: Strike one was Milo's PUBLIC SERVICE ANNOUNCEMENT.
PALMER: Strike TWO was your blatant interference with the MASSACHUSETTS UNDERGROUND'S mission against the AKASHI.
PALMER: With MILO resurrecting himself from the DEAD and KILLING a civilian in COLD BLOOD? That's three strikes, buddy.

4/ Close on Andrew, looking insulted and furious.

ANDREW: To call MALICE a “civilian” is to strain CREDULITY to its BREAKING POINT.

PALMER (off panel): You've had your FUN.

PAGE TWELVE

1/ Long Panel as Andrew tries to maintain his composure, standing before the desk and looking down at the intractable Palmer. His Body Language is rigid as he tries not to reveal his deep seated hatred for the older man, his fists clenched at his sides as he looks down at him.

ANDREW: Palmer, listen to me...
ANDREW: No matter what you THINK, or whatever PRESSURE you're getting from WASHINGTON – this City SUPPORTS us.

2/ Palmer looks angrily up at him.

PALMER: This city is AFRAID of you, MacTiernan.

3/ Andrew gets angry, his eyebrow shooting high as he raises his voice in slowly rising fury.

ANDREW: They're throwing a GRAND BALL in our HONOR as we SPEAK!
ANDREW: You have no idea what you're TALKING ABOUT!

4/ Close on Palmer as he lowers his gaze, staring forcefully up at Andrew from beneath his brow.

PALMER: I've told you, and I'll tell you ONE LAST TIME:
PALMER: It's OVER.

5/ Long Panel as Andrew finally reaches the point of certainty that there will be no talking Palmer out of the decision. Suddenly, and with a look of steely resolve, he raises from his pocket a small black electronic detonator switch, and brandishes it high, at his own eye level, so that Palmer can plainly see. It looks like a simple black cylinder with a textured grip and a red button, normally concealed beneath a black cover which Andrew has flipped open with his thumb.

ANDREW: Then this is where we part WAYS, Mr. Palmer.

PAGE THIRTEEN

1/ CUT BACK to Milo's apartment, where we see Milo's hand reaching out to turn his doorknob, preparing to open his door to the hallway where David waits.

2/ Behind Milo as he swings the door open, revealing David as he stands in the hall, looking surprised that Milo has gone so far as to let him in. The yellow light of the hallway shines in, silhouetting Milo and highlighting David.

MILO: David, I -

3/ Suddenly, David forces his way into the apartment, grabbing Milo by the collar and shoving him into his own home as he slams the door behind them. Milo nearly stumbles and falls, but is held up by David's forceful grip. Milo looks terrified, and David looks furious and sad.

MILO: Jesus, Dave, what're you - ?

4/ David spins Milo around and slams him up against the wall near the door, jarring a picture off the wall and causing Milo to recoil in shock as he hits the wall. David draws in close, still gripping Milo's collar, and stares Milo directly in the face, their noses inches apart.

DAVID: LOOK AT ME.
DAVID: You don't get to talk.

5/ Long Panel as David places his hand on the wall by Milo's head and pulls Milo's head back at an angle by the hair. He kisses Milo's neck, passionately and angrily. Milo protests, trying to pull David off of him, but David is too strong, too driven by adrenaline. Milo looks up at the ceiling awkwardly, unsure of what to do.

MILO: David, wait -

PAGE FOURTEEN

1/ Milo looks down in shock as David steps back, ripping open Milo's button-down and sending the buttons flying off into the room.

DAVID: Shut up.

2/ Angle switch as we see over Milo's shoulder, as David pulls his own t-shirt off over his head, fumbling a little in the near dark. Milo has no idea what to do, completely unprepared for this reaction from David.

DAVID: You are NOT getting off the hook that EASILY.

3/ Long Panel as David spins Milo around, pressing him against the wall. Milo pushes back against the wall, so his face is not smashed against it, but he is powerless to really fight back against the anger-driven David. David reaches down around Milo, unbuttoning his pants off panel. Milo tries to turn his head and look back at David, but can't quite do it, while David stares threateningly at Milo's back, ranting furiously.

DAVID: You are NOT gonna sit here and act like you're making some NOBLE SACRIFICE by walking away and SPARING me your WORTHLESSNESS.
DAVID: You're gonna FEEL every minute of your HYPOCRITICAL CRAP!

MILO: David, WHAT THE HELL!?

4/ Milo looks forward and resigns himself as David presses against him, burying his face in Milo's tensed neck. David reaches out and puts his own arm on Milo's outstretched arm, gripping it intensely as he whispers in Milo's ear.

DAVID: I hope you're READY...

5/ Close on Milo's face, blocked partially by David's arm, as he looks blankly at the wall in front of him. A tear rolls down his cheek, and he lets David do what David needs to do.

DAVID: This is the last thing you'll ever GET from me, you COWARD.

PAGE FIFTEEN

1/ Long Panel as we CUT TO the Columbus Zoo, where we find ourselves inside Luna's cage. The mother Ape huddles in a corner, looking fearfully out at the humans who have arrived, and she carefully pulls her young children into her protective embrace. Outside the bars, we see Allison Whit, being forcefully restrained by two federal agents, while a third agent – a blond man in his late twenties – approaches the bars, holding a high-powered rifle at his side and speaking into a walkie-talkie. The rain continues to pour on them, and the gray sky permeates the scene with a feeling of impending doom.

CAPTION: The Columbus Zoo.

BLOND MAN: This is ANDERS, sir.
ANDERS: I'm looking at her NOW, and the WHIT woman has been RESTRAINED.

ALLI: NO! God, please, NO!

2/ On Anders as he listens to his walkie-talkie, the rain pouring down on his head.

WALKIE-TALKIE: You have your ORDERS.

3/ Anders drops the walkie-talkie to his side, standing in the rain silently for a moment. He looks down at the ground, his face contorted in frustration and confusion as he resists the idea of what he's about to do. He doesn't want to kill the apes any more than Allison wants him to, but he will if that's what he has to do. He brings the rifle up slowly.

4/ Finally, having regained his composure, he raises the rifle and points it at the cage, staring down the length of it to frame his shot. His face becomes a mask of resigned certainty, and he grips the trigger, preparing to fire.

ANDERS: Alright.
ANDERS: It's time.

5/ Long Panel as Donovan suddenly appears before him, standing in the rain with the rifle pointed squarely at his chest. He wears the black t-shirt with the iron cross that he inherited from Samson Paul, and steam rolls from his glowing orange eyes as he channels Ozymandias, his fierce scowl cutting through to the heart of the federal agent. He stands confidently, his hands at his sides but tensed for action, his body language showing no hesitation.

DON: And what time is THAT?

ANDERS: SON OF A -

PAGE SIXTEEN

1/ The other agents release Allison and reach to their sides, drawing their handguns as they realize what's happening. Allison stumbles backward, shocked and frightened.

AGENT 1: STAND DOWN!

2/ The agents spin around, looking behind them. One of them grabs Allison by the arm, jerking her around with them. Standing behind them, only seen to us as a small piece of her head intruding into the panel, is a dark-haired female figure, and they react with surprise at the sight of her, pointing their guns up and ready.

3/ Long Panel as we see who the female figure is. Of course, it's Rhiannon. Standing in the pouring rain, lit dramatically as lightning flashes, she stares them down, unfazed by the loaded weapons pointed straight at her. She wears a dark hooded sweatshirt, of the non-zip variety, and her hair hangs in front of her face, drenched from the storm. Steam crackles from her hands as she channels energy into them, immediately flash-boiling the rain as it strikes her tensed hands, hanging at her sides, awaiting an excuse. She, too, gives the men a fierce glare, almost challenging.

RHI: I know you're just ITCHING to kill the APES...
RHI: But how willing are you to kill the human beings standing in your WAY?

4/ Agent 1 stares at her down the barrel of his gun, looking angrily at her as he threatens. He reaches up with his thumb, pulling the hammer back on his weapon. Rain soaks him, plastering his hair to his face.

AGENT 1: If you people DO this – make some kind of a STAND, here – it's OVER for you.

5/ Close on Rhiannon as she looks him square in the eye, still not flinching from the now cocked weapon aiming straight at her face. Her face is pure resolve, and she shows no sign of standing down from it any time soon. Her scowl could frighten the most hardened of men.

RHI: Buddy, it was over for us a LONG TIME ago.
RHI: We just decided we don't CARE anymore.

PAGE SEVENTEEN

1/ Anders points his rifle at Donovan, screaming angrily at him. His face is distraught, clearly as angry at his entire reason for being there as he is at Donovan and Rhiannon. He waves the weapon erratically, losing his temper.

ANDERS: What do you think you're gonna DO!?
ANDERS: How do you expect to STOP this?

2/ He shoves past Donovan, knocking the man out of the way, and approaches the bars to Luna's cage. Lightning flashes, illuminating the scene.

3/ Luna looks up through the bars, gripping them frightfully, and her children huddle in the back, away from the rain and yelling, as Anders points his rifle into the cage, perilously close to Luna's forehead.

ANDERS (off-panel): Go ahead!

4/ Anders looks over at Donovan as he holds the rifle with only his right hand, dangling into the cage. He screams at Donovan, the frustration of his job causing a complete breakdown as he waves his readied weapon like it's a toy. His free hand is balled into a fist, rigid at his side.

ANDERS: Go ahead and USE your MAGICAL POWERS!!
ANDERS: See if it makes the slightest goddamn bit of DIFFERENCE in the big PICTURE!
ANDERS: See if it -

5/ Small panel, CLOSE ON the barrel of the rifle, as it abruptly goes off. The muzzle-flash glows bright white, and the gun bucks aggressively but not erratically.

SOUND: BLAM

6/ On Rhiannon, Allison, and the two Agents as they all react. Allison turns her head away, covering her eyes with her forearm. Rhiannon turns from the Agents, looking straight over at the cage as she cries out. The two Agents turn around, looking to see what has happened with dread in their faces.

RHI: NO!

PAGE EIGHTEEN

1/ CUT TO a Computer Monitor in a darkened room somewhere. The only light comes from a dim red emergency light bulb mounted somewhere near the ceiling. On the monitor, we see Andrew as he pulls out the detonator switch, brandishing it in the air. His voice comes through the tinny speakers mounted on either side of the monitor. There is also a slight hint of yellow light from a currently unknown source, flickering erratically like candle light.

CAPTION: Elsewhere.

ANDREW (Speakers): Then this is where we part ways, Mr. Palmer.

2/ We see a pair of meaty male cheeks, a brief glimpse of an overweight man with bad facial hair, as he holds a lighter up to the cigarette in his lips and lets the embers glow orange-hot, smoke leaking out the edges of his mouth as he gets the cigarette going.

MAN: Jesus Christ, he's actually gonna DO it.

3/ Long Panel as we pull back and see Mr. Wizard and Cordy, from Ekadanta, as they sit together in an elaborate computer room. The red light overhead reveals a somewhat small but intricately designed room reminiscent of the Control Room on the ship in the MATRIX movies, with multiple computer screens, multiple keyboards, elaborate systems of wiring linking them all together, and huge bunches of wiring bundled together into large tubular masses lining the plate metal wall – the walls themselves riveted together at the seams, highlighted throughout with small stands covered in melted candles, some of which still glow dimly. Wiz is dressed in a black leather trenchcoat and black cloathing, the typical look you would expect from someone like him, and Cordy wears a dark purple shirt. They glance at each other as they speak.

CORDY: Not having second THOUGHTS, are you?

WIZ: Of course not, CORDY.
WIZ: We go exactly according to plan.

4/ Cordy looks away, rubbing the bridge of her nose as she contemplates their involvement in something so blatantly illegal. Her eyes squeeze shut tight.

CORDY: God.
CORDY: Okay.

5/ She opens her eyes and turns to Wiz, looking at him beseechingly.

CORDY: I'm assuming you REALIZE the gravity of what we're DOING here, Wiz?
CORDY: I mean -

PAGE NINETEEN

1/ Wiz looks at her calmly, rationally. He pulls his cigarette away from his mouth.

WIZ: I'm not stupid, Cor.
WIZ: This is going to make us ACCOMPLICES.

2/ Cordy looks back at him as he continues. She smiles faintly, agreeing with him but not liking what that means for her immediate future. She brushes her hair out of her eye.

WIZ (off panel): Unfortunately, however, I think this is one of those SITUATIONS in which being on the right side of the BATTLE means being on the wrong side of the LAW.

3/ Long Panel as they turn away from each other, focusing on the old, tattered spell book Wiz has propped up against an open stand near the monitor. He flips to a page, presenting it to Cordy. She looks down at it, nodding in earnest, as he glances over at her.

CORDY: Okay, then.
CORDY: So we're really doing this.

CORDY: I guess we've got some work to do.

WIZ: I've never done a physical PROTECTION spell as hardcore as THIS before, so I'm gonna need your BACKUP, here.

4/ Cordy turns to look at him meaningfully.

CORDY: You've got it.
CORDY: And Wiz? ADAM?

5/ Wiz turns to face her at the mention of his real name, surprised. It's clear that she usually calls him Wiz, and she must be serious if she's saying “Adam.” He searches her face, waiting.

CORDY (off panel): Whatever happens...

6/ CLOSE ON Cordy as she maintains eye contact, her face a mask of subdued emotion.

CORDY: I love you.

PAGE TWENTY

1/ CUT BACK to Rhiannon, staring in disbelief at the carnage off-panel. Her face has gone white, and her shock is washed away in the cascading rainstorm.

RHI: Oh, my God.

2/ From inside the cage, seen over a FG glimpse of bloody brain-matter, we see Anders as he stumbles backward from the bars, the smoking gun dangling uselessly from his surprised hand. His face is stunned horror, barely comprehending what has just happened.

ANDERS: I didn't mean...
ANDERS: It just...

3/ The other two Agents train their guns on Donovan and Rhiannon, who now stand side by side, Donovan putting a comforting arm around Rhiannon. The Agents shout angrily back at Anders, glancing sideway over their shoulders while never turning away from Don and Rhi.

AGENT 2: Get it TOGETHER, Anders!

AGENT 1: These freaks are gonna lose it any SECOND, over here!

4/ Allison crumbles to the ground, sobbing into her hands as she stares over at the violent mess in the cage. She no longer pays any attention to the rain, as it soaks her to the bone.

ALLI: Luna!
ALLI: Oh, God, no...

5/ Long Panel as the three agents gather around Donovan and Rhiannon, guns pointed right at their heads. Don and Rhi look up, assessing the situation. Rhiannon clings to Donovan, who holds her tight. They stare at the gunmen, unsure of what happens next.

RHI: Donovan...

PAGE TWENTY-ONE

1/ Suddenly, Donovan turns to face Rhiannon. His face is serious, appraising her as he suggests the unthinkable. The rain still pours down on them, soaking his face and sticking his hair to his forehead. His gaze is penetrating.

DON: Rhi, I need you to look at me.
DON: There's only one way we're getting out of this.

2/ Rhiannon turns away, looking down at the ground to her side as she comprehends what he's suggesting. Her eyes well up, thinking about the line she's about to cross.

RHI: You can't be SERIOUS, Donovan.

3/ Close on Donovan as he continues to stare her right in the face, not backing down.

DON: I know it doesn't seem RIGHT, Rhiannon.
DON: I know it doesn't seem like what we're SUPPOSED to do...

4/ In a hazy, rounded-off panel, we see Donovan's memory of Milo, leaning against a crate in Malice's headquarters and staring forbiddingly at Donovan. His eyes shimmer momentarily as he correctly informs Donovan of events not far in the future, his prophecy about to come true...

MILO: I saw her KILLING people, Donovan.
MILO: And she was doing it because you TOLD her to.

5/ Back in the present, Donovan still looks at Rhiannon, but his expression is softer, more apologetic. He's shaken by how accurately Milo predicted this moment.

DON: But if we're gonna leave here alive – if we're gonna live to see another DAY?
DON: It's the only thing we CAN do.

6/ Rhiannon looks at him, silently. Her face is conflicted, but she has begun to resign herself to the reality of their situation. She looks distraught as the rain soaks her through and through.

7/ Without a word, she closes her eyes, concentrating. From beneath her tightly shut eyelids, small wisps of smoke curl out of her eyes, indicating the use of her power as she bites her lip in deep focus.

PAGE TWENTY-TWO

1/ Agents 1 and 2 still train their guns on Donovan and Rhiannon, but as the situation suddenly turns unpredictable, they begin to lose their nerve. Agent 1 looks nervously over at Agent 2, who keeps his eyes locked on the two targets in their sights.

AGENT 1: What...what is she DOING?

AGENT 2: Uh, guys...maybe we should -

2/ Inside the cage, we see Luna's body, and though it is obscured and hard to make out, we witness what happens next through a vantage point partially blocked by the gore of her broken head, blood coating the body. Nearby, her children huddle in a corner, frightened. Donovan and Rhiannon can be seen in the BG, as the bars to the cage suddenly begin to shake, the concrete holding them to ground cracking and giving way as the bars are wrenched free by Rhiannon's power, preparing to send them hurtling through the air.

SOUND: CRRACK

3/ Long Panel as the bars break free entirely, flying through the air and hitting their targets, violently striking the Agents all at once, skewering each of them as the bars run straight through their bodies and wedge into the concrete ground, pinning the Agents like kabobs. Blood flies as the Agents flail helplessly, breathing their last breath.

SOUND: SCHRIPP
SOUND: SCHLUNK

AGENT 1: ACK!

4/ Allison Whit stands alone, horrified, looking down at the blood and guts of the skewered Federal Agents coating the ground before her. She is frozen in place, her hand over her mouth, everything she thought she was prepared for turned upside down.

RHI (off panel): Allison...

5/ Close on Rhiannon as she stares at the shocked Allison, warning her to escape before things get even uglier. Her face is dead-serious, her expression unflinching. She still can't believe what she's done, but she is prepared to face the reality of it.

RHI: Run.

PAGE TWENTY-THREE

1/ CUT BACK to Palmer, looking up from his spot behind the desk with a carefully measured expression, trying not to look impressed and succeeding admirably.

PALMER: I see.

2/ Andrew still flashes the detonator, looking angrily but steadily down at the older man.

ANDREW: I didn't wanna DO this, Sir – but there's a TREND developing here.
ANDREW: A trend I can't allow to continue.

ANDREW: You want a WAR? You got it.

3/ Palmer pops a fat cigar into his mouth and lights it with his silver butane. Without looking up at Andrew, he poses a question, his eyebrow raised.

PALMER: Inter Arma Enim Silent Leges, Andrew?

4/ Close on Andrew, still holding the detonator, as he stares back at Palmer, not missing a beat.

ANDREW: Post Hoc, Ergo Propter Hoc.

5/ SMALL PANEL as Andrew's thumb comes down on the detonator button, the red button lighting up as it clicks into place.

SOUND: Click.

6/ Outside the building, we see a smaller version of the same image from the last page of the previous issue: The Atlas Building's top floor, blown to bits as the bomb detonates, sending concrete and glass showering into the street below.

PAGE TWENTY-FOUR

1/ CUT BACK to the original scene, with Palmer sitting in the hot lights of the interrogation room, holding his smoldering cigar. His wounds are now patched, stitches crossing his forehead in a spot where there will clearly be a visible scar for the rest of his life. He looks up at the reader, and his interrogators.

CAPTION: Now.

PALMER: Next I knew, I was standing atop the crumbling ATLAS BUILDING, waiting for the CHOPPERS to pick me UP.
PALMER: Falstaff obviously did his job WELL, if both of us are still ALIVE.

PALMER: May I GO, now? I've had a long day, as I'm sure you can see.

2/ Close on One of the Shadow Figures, looking down at Palmer, the figure's head cocked curiously.

SHADOW: Of course.
SHADOW: But first – what was that LAST part?

SHADOW: Was that LATIN?

3/ Long Panel as Palmer gets up from the chair, cautiously. He is obviously still sore from the experience he describes, and he needs both his hands to push himself out of the chair. He looks up at his interrogators.

PALMER: Very astute.
PALMER: I said to him: “In time of war, the law falls SILENT, Andrew?”

4/ The shadow figure watches as Palmer leaves, calling after him.

SHADOW: And him?
SHADOW: What was his RESPONSE?

5/ Palmer walks toward a large metal door, preparing to leave. In response to the question, he looks back over his shoulder, his face a mask of resentment and sworn vendettas.

PALMER: Basically?
PALMER: “You started it.”

PAGE TWENTY-FIVE

1/ CUT BACK to Milo's apartment. Having finished their business, Milo and David sit side-by-side on the bed, fully clothed. Milo looks off into space, shaken, as David looks at him in disbelief.

DAVID: So that's it?
DAVID: We're DONE here?

DAVID: I can't talk you OUT of this?

2/ Close on Milo as he looks up, facing David. His glasses catch the streetlight coming in from outside the window.

MILO: I've made up my MIND, David.

3/ Long Panel as Milo shows David the door, opening it for him as David steps out into the hallway. On his way out, David stops, turning back to face Milo.

DAVID: You know...
DAVID: Until today, you were the best thing that ever happened to me.

4/ On David as Milo waves his hand in front of David's face, in a “wiping the slate clean” motion. David looks at him, perplexed.

5/ On Milo, as he completes the motion, looking resentfully at David.

MILO: David, I'm the ONLY thing that ever happened to you.
MILO: Forget me. And go find him.

PAGE TWENTY-SIX

1/ David stands in the hallway, looking blankly at Milo's closed door, with the bronze number 4 staring him in the face as it hangs over the peep hole.

2/ On David as he shakes his head, looking confused.

DAVID: Where...?

3/ Long Panel as David walks down the hallway, passing doors 3, 2, and 1 as he looks helplessly at his hands as he struggles to figure out where he is.

4/ David walks out the front door of Milo's building, looking around strangely in the pouring rain. Off panel, someone calls out to him.

VOICE: You look lost.

5/ David turns to see who it is, and standing before the door to the bar located beneath Milo's apartment is Josh, looking equally lost and hiding from the rain beneath the concrete overhang on the front of the building. He looks up at David.

DAVID: I don't believe we've met.

JOSH: No, I don't believe we HAVE.
JOSH: I'm JOSH.

PAGE TWENTY-SEVEN

1/ FULL PAGE SPLASH, featuring the Issue's TITLE, CREDITS and INDICIA as David and Josh walk away, heading down the sidewalk together in the rain, their backs to us and their hands in their pockets. David looks over at Josh, and Josh looks up at him.

DAVID: Wanna get something to EAT somewhere?
DAVID: I'm uh...I'm feeling a little disoriented.

JOSH: I'd love to.


NEXT: Annual #2