The brilliant windows capture his attention during the first few orbits, but later his eyes are drawn to the wooden panels below them, at head level. These are painted with scenes that Daniel recognizes, almost without even having to look at them, as the Revelation of that scary lunatick St. John the Divine. The Four Horsemen on their color-coded steeds, the Great Beast spitting terrified Saints, misguided humans queueing up to receive the Mark of the Beast. The Whore drunk on the Blood of the butchered Saints, and later being burned for it. Christ leading the armies of Heaven on a white horse. Much of this is so faded that it can only be made out by one such as Daniel who had to memorize it when he was a boy, so that, like an actor standing backstage awaiting his scene, he’d be able to follow the script, and know his cue, when it happened for real. In the more dilapidated Mobb-scenes, only the eyes stand out among the faded and peeling pigmentation: some sleepy, some upraised, some darting about for Earthly advantage, others attending to the faraway deeds of Angels, still others lost in contemplation of what it all means. He can not help seeing this all as a final message from Drake. A reminder that, in spite of all Isaac’s lucubrations, Isaac still does not know the date and time of the Last Trumpet, and that in spite of all Drake’s methodical preparations, Daniel has yet to step out of the wings and play his assigned role.