Previous Chapter

Next Chapter

Themes Edit

Yesod (Hebrew: יסוד "foundation") is a sephirah in the kabbalistic Tree of Life. Yesod is the sephirah below Hodand Netzach, and above Malkuth (the kingdom). It is the vehicle, from one thing or condition to another. It is the power of connection.

In this issue, I will attempt to explore the concept of transformation (i.e. the creation of a manipulator, to the shift from life, death, and rebirth) as well as familial bonds (of which four are very pertinent to the story at large-- the death of Dr. Leslie Brian's sister aiding in the creation of the Akashic super computer, JUPITER BLACK and his father, General Graves, Feynman losing his family through his insanity,and Jude Fourier attaining enlightenment at the cost of his marriage). Furthermore, the idea of "Foundation" will be solidified with the introduction of GEHENNA Base, as this is the "foundation" for PANTHEON operations.

The concept of foundation will be explored via the establishment of the SYNAXIS (or agents thereof) as major players in the story. Furthermore, the "foundation" of the resistance will also be met. Roots, underground superstructures, and secret cabals are key aspects of the theme I wish to persue here.

Featured Characters Edit


Synopsis Edit

Feynman is apprehended after suffering a psychological break which left him wandering the northern Virginia countryside nude, in the middle of winter. Barrette, who has by this time become somewhat familiar with the man, attempts to make contact with him while he is in jail, but is rebuffed by his ex-wife who seeks to have him committed. She eventually relents, and allows Barrette to speak to Feynman, who's condition appears to either be worsening or improving, depending on where you are in time.

Feynman relates to Barrette when he began to experience the lapses in temporal association, specifically detailing the events which led up to the rescue of Fatima, and his association with Jude, otherwise known as MERCURY ROYAL.

Script Edit

I figured it was just like any other side effect of growing older-- if I didn't forget my keys, it'd be my wallet. And then it wasn't my keys or my wallet. It was my social security number, it was my home address. Eventually it was my name. My mind was slipping.

It wasn't until I showed up at the church for my son's wedding that I realized I needed help. I was late by an entire week, and I have no idea where my mind had been in the interim.


We focus on the door to Barrette's apartment. There are numerous deadbolts in the locked position, and the securing chain above all of them is in place. The camera stays on this for awhile, the inactivity in the panel almost ominous. Suddenly, a form begins to pour through door: JUPITER BLACK is phasing through it. First his head, perhaps a hand, then his legs, torso, and everything following through shortly after. He is silent, efficient, ghost-like in his intrusion.

BARRETTE: (Narrating) It'll come for you, like it came for me. It'll take it's time, it has no need for efficiency, as it is aware of its own inevitability. Sooner or Later... It will find you.


We pick up where we left off at the end of the first issue. Again, we see Barrette having recently finished veiwing the video secretly passed to him. His face is contorted by a mixture of emotions: fear, confusion, awe. In his hand is the note. On a table near him, is his computer. The window for the media player which played the recording is still open on the desktop.

The figure makes his way first to the computer, and the USB. Jupiter Black acknowledges Barrette's presence, but does not immediately face him. Jupiter knows exactly why he is there, there are objectives to accomplish.

Jupiter extends his finger tips gingerly before the keyboard. He presses them into the keys, but it is his own flesh which yields, and not the electronics. His fingers phase into the keyboard, appearing as if he is stirring a thick batter with nothing but his own gloved hand. He searches for a moment before happening upon the exact target of his search. As Jupiter retrieves his hand from the computer, resolidifying, a glimmering piece of metal follows with it: the hard drive.


Jupiter examines his prize. If we could see his face, one might imagine it to be smiling. As the reality of the physics-defying magic is setting upon Barrette, Jupiter further displays his otherwordliness and crushes the drive in his palm. As his fist reopens, a wisp of dust blows out from it, carried by some unseen current in the room. The hard drive is no more.

BARRETTE: Wh--what the fuck are you?!!

JUPITER: The truth, I suppose, Mr. Barrette. I am all the proof you needed for your feeble little theories.

BARRETTE: I... was right, all along?

JUPITER: If you weren't, I wouldn't be here.


BARRETTE: So what do you want from me?

JUPITER: Silence. Cooperation--

JUPITER: But mostly silence.


Barrette is at Best-Buy type store. The clearly apathetic and underage employee in a blue smock before him is of no help.

BARRETTE: I believe my system is still under warranty.

CLERK: Yes sir it is... but--

BARRETTE: But what?

CLERK: Well it just looks like the hard drive was removed by an uncertified technician. This voids the warranty.


CLERK: Can you explain what happened, sir?

BARRETTE: Not even if I fucking tried.


Barrette falls to his knees. His hands are still bound behind his back, and the blindfold is still secure. Bryan and Feynman help him in his recovery, and undo both the blindfold and the bindings about his hands.


Open on Dirac and Fatima; wide angle, panning shot, with both of them in it. Dirac is walking toward Fatima, who is contained within a reinforced plexiglass cell. Around this enclosure is a larger, oppressive concrete room. There is an eerie blue tint which bathes the place. It mixes both the sanctity of a church and the eeriness of a catacomb.

DIRAC: Hello again.

Dirac approaches the cell, and stares intently at the prize within.

DIRAC: I know what you must be thinking... How can this old man love me like he does? How can he feel like I feel? I know this, because I see it in your expressions, in your face, when you let the world see them. I am like you, can't you see?


DIRAC: We... see things, like no one else can. The way other people process the world simply bores us now. I am like you. I am so very much like you.

Fatima, who remains in the lotus position, her head slumped forward, does not deign to give Dirac any sort of acknowledgement, let alone a mere expression.

We see now from Fatima's perspective, looking outwards. Dirac is partially bathed in the blue light, almost emerging out of the shadows. He has placed a single, pitiful hand onto the plexiglass.

Close up on Fatima's face, as it is still slumped down. Her eyes, half glazed, dart towards Dirac. It would be contempt, or the expression one might wear if they saw a child imitating an adult, if Fatima knew such concepts.


BRYAN: How is she today?

DIRAC: Same as usual. No response-- no desire to interact with the outside world.

BRYAN: She's so young, but she knows more than we ever could.

DIRAC: It's no use to us if she refuses to speak like she does.

BRYAN: She was 12 when we found her. The amount of training, suffering-- what she gave up to see what she saw-- You can't expect some one like that to have much to say after everything she's been through.

DIRAC: It's not a matter of trauma anymore. It's a matter of language and syntax.


I never liked him. I never pretended to either, we were just honest with each other that way. He knew he needed to be reigned in from time to time, and that was my duty. He could lose sight of his goals, his purpose within the project.





















Dr. Bryan is making a phone call to an unknown person, from a pay phone in a derelict truck stop. It is night time, she is alone, and the fluorescent lighting from the building is attracting all manner of insects from the desert. She tries to cover the phone with her palm, to mute her voice from any possible stalkers, though right now, so far from civilization, that possibility is remote. She is panicked, it seems. A steel brief case is with her, but upon closer inspection, we see it is in fact chained to her wrist.

BRYAN: I'm a few days out-- maybe two. I just... I just need you to take this thing.

Close up on the brief case, and the chain.

BRYAN: Please, I've come this far. You have to help me on this.

BRYAN: Thank you, I... I just need to keep moving. Thank you.