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This issue takes place over a couple of days immediately following the end of issue 30. Weather conditions and clothing will therefore be appropriate for late November on the East Coast.

Narration in this issue is in the form of SARA's internal first-person monologue, which should be indicated on-panel by a distinctive "hand-writing" lettering. These captions will be marked in the script as "SARA's monologue" to distinguish them from third-person narrative captions.

PAGE ONE. One panel.

Panel 1

The main room of the hotel suite our heroes were occupying at the end of last issue. SARA, FRED, JAMES, CHI-YUN, and PAUL are all here. SARA and FRED share a couch and both have computers on their laps, JAMES reads a newspaper, PAUL reads a book (we don't need to show what), and CHI-YUN is cross-legged in front of the TV. Sunlight streams through the window. This is a full-page panel, despite the fact that nothing much is happening in it, establishing the tranquility and "ordinaryness" of the scene.

1. CAPTION (SARA's monologue):

It all started yesterday.

2. CAPTION:

Saturday 22 November, 2014.

3. CAPTION:

Hailey Hotel, New York City.

4. CAPTION (SARA's monologue):

None of us saw it coming.

5. SFX (FRED's computer):

Bong!

6. VOICE (FRED's computer):

You have mail.

7. SFX (SARA's computer):

Bing!

8. VOICE (SARA's computer):

You have mail.

PAGE TWO. Four panels.

Panel 1

Just a view of FRED and SARA now, as they look at their screens.

1. FRED & SARA (simultaneously):

Hmmm.

2. FRED & SARA (simultaneously):

It's from Don.

Panel 2

Same view. FRED and SARA exchange bemused glances.

3. FRED:

You first.

Panel 3

Same view as FRED and SARA each read from their screens.

4. SARA:

"Guys. Whatever you may be told, don't go to Princeton University—"

5. FRED:

"—Do not talk to Diana Just at the Center for Advanced Physics—"

6. SARA:

"—And whatever happens, do not—"

7. FRED:

"—I repeat, do not—"

8. SARA:

"—Go anywhere near the SQuARC particle accelerator while she's running experiments there."

Panel 4

In a wider view of the room, everyone is staring at FRED and SARA.

No dialogue.

PAGE THREE. Four panels.

Panel 1

Everyone is staring blankly at SARA and FRED, who are looking equally blankly back at them.

1. FRED:

Who's Diana Just?

2. SARA:

Were we planning on going to Princeton?

Panel 2

PAUL is looking at a hand-held PDA, tapping the screen with a stylus. JAMES is standing.

3. PAUL:

I got the same message. Looks like Don wanted to make sure we got it.

4. JAMES:

I guess we'll have to go, then.

5. CAPTION (SARA's monologue):

And of course we all knew he'd say that.

6. CAPTION (SARA's monologue):

And, of course, so did Don.

Panel 3

JAMES is behind the couch and leaning on the back of it so he can read from SARA's screen. We're still looking at the couch from the front so we don't see the screen.

7. SARA:

I don't really want to meet Diana Just.

8. JAMES:

Neither do I.

9. SFX (SARA's computer):

Bing!

10. VOICE (SARA's computer):

You have mail.

Panel 4

A close-up of SARA's computer screen, allowing us to read what SARA and JAMES are now reading. It's an e-mail message (this should be obvious from the screen layout, though it shouldn't be identical to any of today's proprietary e-mail clients) with the following text:

From: sylvia@boulevard.com To: Sara
Subject: Diana Just
If you get within 1000 miles of Princeton University, I will personally kill you. And cut off your allowance. I don't care what Don tells you to do, I'm your Mother.
S.

PAGE FOUR. Five panels.

Panel 1

SARA has slammed the lid of her computer shut.

1. SFX:

Slam!

Panel 2

SARA looks back at JAMES.

2. SARA:

I guess we're going, then.

Panel 3

JAMES and SARA are both standing now. The others are just looking at them.

3. JAMES:

Princeton's probably a three hour drive. If we start right after breakfast—

4. FRED:

Who's Diana Just?

Panel 4

JAMES is heading out of the room as he speaks.

5. JAMES:

One of my father's old team-mates. In Strikeforce.

6. JAMES:

Everybody get packed. Early start.

Panel 5

He has left. The others are still in the room.

7. CHI-YUN:

What's a squawk?

8. SARA:

That's what we'll have to find out.

PAGE FIVE. Three panels.

Panel 1

The five sit in their rented SUV in a parking lot. It's morning. There are very few cars in the parking lot and no people around. In the background is a big building -- four storeys, modern architecture, lots of glass -- but the focus of the panel needs to be on the SUV, so we can see inside to identify who is speaking. JAMES is driving, PAUL is next to him, the others are in the back. Note that JAMES is in full costume, including mask. The others wear heavy coats suitable to the season.

1. CAPTION (SARA's monologue):

And so here we are.

2. PAUL:

I looked up her work. She's published a few papers.

3. JAMES:

And?

4. PAUL:

Couldn't understand a word of them.

5. FRED:

I found some articles about her work. Something about space-time breaking down at super-high energies.

6. FRED:

It all sounds a bit theoretical.

Panel 2

JAMES has opened the door and is stepping out. We can now see that he's carrying his SHIELD in his hand.

7. PAUL:

I don't understand why Don was warning us away.

8. JAMES:

Reverse psychology. He wants us to investigate.

9. PAUL:

Well I understand that. Duh. Who's the psychiatrist here?

Panel 3

JAMES is outside the vehicle, in the process of slamming the door shut. The SHIELD is now securely strapped to his left forearm.

10. PAUL:

And whatever it is, it's something bad enough that he couldn't ask us outright.

11. PAUL:

But — what?

12. JAMES:

I'll find out.

PAGE SIX. Five panels.

Panel 1

JAMES is walking, alone, towards the building. PAUL has the window open and is calling after him.

1. PAUL:

You? Why not all of us?

2. JAMES:

I think I'll learn more alone. Because of this costume. Her history with my father.

Panel 2

JAMES is walking alone towards the building entrance, past a sign: "Center for Advanced Physics". The vehicle is off panel behind him, but we hear a sound effect from it.

3. SFX (off-panel):

SLAM

Panel 3

JAMES is still on the path to the building. SARA has caught him up.

4. SARA:

I need to come too. Because of my mother.

Panel 4

They enter the building together, into a large, open lobby.

5. JAMES:

Sara, your mother's mail wasn't reverse psychology. She really doesn't want you here.

6. SARA:

And your point is?

7. CAPTION (SARA's monologue):

Duh.

Panel 5

A close up of a panel on a wall which shows a building directory. We see:

306 Campbell J.
307 Willy L.
308 Just D.
309 Richardson R.
310 Stine G.
311 Gillett S.

(There are obviously more names but the panel borders can cut the list off.)

8. SARA (off-panel):

She might not be here on a Sunday morning.

9. JAMES (off-panel):

If not, we'll find someone who can give us a home address. 308. Come on.

PAGE SEVEN. Four panels.

Panel 1

The cluttered office of a busy academic. Shelves bulge with books and magazines, a computer sits in the corner of the desk, a coffee pot and a potted fern share a side table, and two functional but not very welcoming chairs are pushed back out of the way. The door has a frosted glass panel through which we might be able to see the shapes of her two visitors (though it's more likely that the door will have to be out of view in this panel). DIANA JUST sits behind the desk. She is black, tall, thin, and has a lot of grey in her short hair. She's in casual office wear. Somewhere there should be a coat on a peg or hanger. Her head is bowed over some papers that she's writing on.

1. SFX (door):

knock knock

2. DIANA:

Come.

Panel 2

JAMES and SARA stand in front of her desk. Her head is still down.

3. JAMES:

<ahem>

4. JAMES:

Doctor Just—

5. DIANA:

Make it quick. I have work.

6. JAMES:

Black Swan—

Panel 3

NOW she looks up. This is a close-up on her reaction and her eyes are very wide.

7. DIANA (softly):

Wha—

Panel 4

Same close up. Now she's scowling in anger.

8. DIANA:

Who the hell do you think you are?

PAGE EIGHT. Six panels.

Panel 1

Close up on JAMES, talking.

1. JAMES:

Doctor Just, I know how this must be a bit of a shock to you but—

Panel 2

Identical view, but DIANA's hand is slapping JAMES, an open-handed slap on his cheek. He doesn't flinch.

2. SFX:

smack

Panel 3

Now we see JAMES and DIANA facing each other in profile (just head shots). Perhaps surprisingly, they are virtually eye-to-eye -- she's as tall as JAMES.

3. DIANA:

You have no right to wear that costume.

4. JAMES:

This costume belonged to my father. Major—

Panel 4

Same profile view. She's slapping him again.

5. SFX:

smack

Panel 5

Same view (without the slap). She has metaphorical steam coming out of her ears. JAMES is as infuriatingly calm as always.

6. JAMES:

Doctor Just, if you would please stop hitting me—

7. DIANA:

You have no right!

8. JAMES:

—We could get to the point. We believe you're about to do something very dangerous with a particle accelerator.

Panel 6

In a full-length view, we see DIANA's hands balled into fists at her side. She REALLY wants to hit him again.

9. DIANA:

Who sent you?

10. DIANA:

Astra?

PAGE NINE. Six panels.

Panel 1

JAMES and SARA exchange puzzled looks.

No dialogue.

Panel 2

They look back at DIANA.

1. JAMES:

That's not important. What is important is that you're about to start a dangerous experiment and—

Panel 3

DIANA just glares at him.

2. DIANA:

And you brave superheroes are here to save me from myself?

3. JAMES:

Well—

Panel 4

DIANA is picking up her coat.

4. DIANA:

I was saving the world before you children were in daipers.

5. DIANA:

And doing science long before that.

Panel 5

Now she's heading out of the door.

6. DIANA:

Now I have work to do.

7. DIANA:

I expect you to be gone when I get back.

8. DIANA:

You and your girlfriend.

Panel 6

SARA and JAMES are left looking at the closed door.

9. SFX (door):

SLAM!

PAGE TEN. Six panels.

Panel 1

JAMES and SARA look at each other.

1. SARA:

That went well.

2. SARA:

By our standards.

3. JAMES:

Yes... my father's journals did mention a temper...

Panel 2

DIANA is stepping off the stairs into the downstairs lobby. She's wearing the coat she previously picked up. Off to one side, someone is sitting with an open newspaper hiding his face. (From what we can see of the clothing, we might deduce that it's FRED.)

No dialogue.

Panel 3

DIANA is mid-way across the lobby, heading for the front door. FRED has lowered the newspaper and is looking at her.

No dialogue.

Panel 4

DIANA has stopped and is looking at FRED.

No dialogue.

Panel 5

FRED hides behind the newspaper once more.

No dialogue.

Panel 6

...And DIANA leaves through the front door.

No dialogue.

PAGE ELEVEN. Four panels.

Panel 1

JAMES and SARA are back in DIANA's office. They are looking around the room but not actually *searching* the room, just looking.

1. SARA:

I'm not your girlfriend.

2. JAMES:

I know.

Panel 2

JAMES is at the door, his hand on the handle. She is behind him, looking at his back.

3. SARA (softly):

Oh.

Panel 3

They both enter the lobby to find FRED waiting for them.

4. FRED:

She's really pissed at you.

5. JAMES:

I know.

6. FRED:

But I think she had the hots for your dad.

7. JAMES:

Fred—

Panel 4

The three of them are leaving the building together.

8. FRED:

Ok, she's going to run her experiment right now, and I know where it will be.

9. FRED:

At least, I'll know it when I see it.

PAGE TWELVE. Four panels.

Panel 1

They are all back in their vehicle again, driving down a suburban street. This time, PAUL is driving.

1. SARA:

Come on, a particle accelerator can't be that hard to find. Aren't they, like, huge?

2. PAUL:

Yes, big rings of super-conducting magnets.

3. JAMES:

It will be buried underground. We'll only see the control room or something.

Panel 2

Still driving. This can be a closer view of the interior of the vehicle.

4. CHI-YUN:

I wish somebody would tell me what's going on.

5. JAMES:

We don't know, Chi-Yun.

6. FRED:

I couldn't scan her thoughts very deeply. But I think she's expecting to find something in the particle accelerator.

Panel 3

Close up on FRED, pointing off to one side of the road.

7. FRED:

I know that makes no sen—

8. FRED:

There! That's it!

Panel 4

The vehicle is turning off towards what might be a small wooded park -- except it's a park surrounded by a high chain-link fence. A sign reads: "ACCESS POINT 13" and another reads "PRIVATE LAND". The gate, however, stands open.

No dialogue.

PAGE THIRTEEN. Four panels.

Panel 1

The vehicle is parked by a small, squat, concrete building and the group is getting out. Another car is parked nearby. The building's plain metal door stands ajar. The building really is small -- it just needs to be enough to house the top of a stairwell, as the interesting stuff is indeed underground.

1. JAMES:

Doctor Just used to have powers of energy manipulation.

2. SARA:

But she must have lost them in the Event.

3. JAMES:

Exactly.

Panel 2

JAMES is by the door, pushing it open.

4. JAMES:

My guess is that she's trying to get them back somehow.

Panel 3

They are now heading down a set of stairs. It's a plain, square, concrete shaft, sunk an unknown distance into the ground, with stairs wrapping round it. The way is lit by wall-mounted lights. It's all very bare and functional. JAMES is leading the way, PAUL is behind him, then FRED, CHI-YUN, and SARA.

5. PAUL:

Sounds dangerous.

6. JAMES:

Exactly. Which must be why Don wants us to come and stop her.

7. CAPTION (SARA's monologue):

I have a bad feeling about this.

Panel 4

They are at the bottom of the stairs, in some kind of cramped control room. There are a couple of computer monitors on a desk, maybe some boxes stacked up in a corner, and not much else. A single closed door in one wall has a sign that reads "MAINTENANCE ACCESS".

8. CAPTION (SARA's monologue):

Not a premonition. Fred has those. Just a—

9. CAPTION (SARA's monologue):

Feeling.

10. JAMES (softly):

Must be through there.

11. CAPTION (SARA's monologue):

Why doesn't my mother want me to be here?

PAGE FOURTEEN. Three panels.

Panel 1

JAMES is opening the maintenance door.

1. CAPTION (SARA's monologue):

How did she know I was going to be here?

Panel 2

JAMES has stepped through into a long tunnel. It curves gently away from them in both directions (particle accelerators, at least this type, are circular). It's high enough for them to stand comfortably and wide enough for at least two abreast. The door is on the outer wall of the curve. Running along the inner wall are bundles and bundles of thick cables and thin pipes.

2. CHI-YUN (softly):

Where are all the particles?

3. FRED (softly):

They run through pipes, idiot.

4. FRED (softly):

Your left, James.

5. CAPTION (SARA's monologue):

I don't want to be here.

Panel 3

They set off along the tunnel, to their left. JAMES leads, then FRED and CHI-YUN, PAUL, SARA. PAUL has his hand on the inner wall of the tunnel.

6. PAUL:

Feel that vibration?

7. JAMES:

She's started!

8. CAPTION (SARA's monologue):

I'm afraid of what I'll find.

PAGE FIFTEEN. Three panels.

Panel 1

They round the bend of the corridor and see DIANA ahead of them, still some distance off. She is motionless, facing the inner wall of the tunnel, and intent on the screen of a hand-held computer.

1. JAMES:

Doctor Just!

2. FRED (softly):

Ok. Just blow the element of surprise.

3. PAUL (softly):

It's not a fight, Fred!

Panel 2

JAMES is striding towards DIANA, the others following. She's angry, shouting back at them.

4. FRED (softly):

It will be.

5. DIANA:

What the hell do you think you're doing here?

Panel 3

JAMES is now only a few yards away.

6. JAMES:

Doctor, please, you're doing something dangerous.

7. DIANA:

Dangerous for you perhaps!

8. JAMES:

No, Don sent us, he warned us—

PAGE SIXTEEN. Three panels.

Panel 1

There is a sudden burst of steam from one of the pipes running around the inner wall of the tunnel. It forms a big cloud between DIANA and our heroes. We can see her dimly through the cloud (our POV is on the heroes' side).

1. SFX:

BOOOOM!!!

2. SFX:

fssssssssshhhhhhhhh

3. DIANA:

Oh God Damn—

4. CAPTION (SARA's monologue):

Then something vibrates right through me.

5. CAPTION (SARA's monologue):

My watch cracks and pulls at my wrist.

6. CAPTION (SARA's monologue):

I remember something about super-magnets and I'm suddenly glad I don't have piercings.

Panel 2

Small close-up on FRED who has his hand to his mouth and blood seeping through his fingers.

7. CAPTION (SARA's monologue):

Or fillings.

Panel 3

In the big cloud of steam, we see a shape. It's indistinct, just a black shadow, but it is definitely humanoid.

8. CAPTION (SARA's monologue):

And something's there. I didn't see where it came from. It just—appeared.

9. CAPTION (SARA's monologue):

And, instinctively, I know what it is.

10. CAPTION (SARA's monologue):

A name I learned from my Mother.

PAGE SEVENTEEN. One panel.

Panel 1

The steam is rapidly dispersing, and we get a clear look at the figure (though wisps of steam can still cling to it in an artistic manner). It's generally the size and shape of a man, slim and sleekly muscled. A few features mark it as distinctly inhuman, however. For a start, although it is apparently naked, it's sexless. Its skin is black -- not human black but the matt black of a lump of basalt. It has the head of a jackal. And its eyes are glowing red slits.

It stands, poised on the balls of its feet, arms loosely at its sides, looking around with no recognisable expression. This will be a full-page splash panel so we get a good look at it. We (and SARA) will refer to this creature as AVATAR.

1. CAPTION (SARA's monologue):

Avatar.

PAGE EIGHTEEN. Four panels.

Panel 1

DIANA is the first to move. She is taking a step towards AVATAR, hand outstretched. Her face is puzzled -- this doesn't seem to be what she expected. But she doesn't appear afraid.

1. DIANA:

Avatar?

2. DIANA:

How the hell did that— did you—?

Panel 2

AVATAR pivots and one straight arm lashes out and catches DIANA on the side of the head.

3. SFX:

WHACK!

4. DIANA:

Uhhh—*

Panel 3

In a wider view, we see the others react as DIANA crashes limply into the side of the tunnel. JAMES and PAUL are both stepping forwards. (PAUL has let JEROME's personality take over, so his captions will be labeled JEROME from now on.)

5. SFX:

THUD

6. JAMES:

Take it down. Fast.

7. CAPTION (SARA's monologue):

I spot the change as Jerome takes over Paul's body. It's the way he moves, poised to meet and deal with anything.

Panel 4

JEROME is a stride ahead of JAMES when AVATAR spins to face him.

8. JEROME:

Have at you, creature—

PAGE NINETEEN. Four panels.

Panel 1

Small close-up panel showing AVATAR's fist moving towards JEROME's head.

No dialogue.

Panel 2

JEROME has evaded the punch and has AVATAR's wrist in a two-handed grip, while pivoting ready to throw AVATAR to the ground in a fancy judo move.

1. JEROME:

Haaaaa—

2. CAPTION (SARA's monologue):

He's probably the best fighter I've ever seen.

Panel 3

AVATAR is still on his feet and JEROME is flying through the air and crashing violently into a wall. AVATAR's arms are flung out to the sides -- he was not only fast enough to avoid the throw, he was also strong enough to throw JEROME across the tunnel without much effort at all.

3. SFX:

CRASH!

4. JEROME:

Uhhh.

5. CAPTION (SARA's monologue):

He lasts about two seconds.

Panel 4

JAMES steps up, SHIELD raised.

6. CAPTION (SARA's monologue):

James probably understands what he's dealing with, at least as well as I do. He still steps forwards.

7. CAPTION (SARA's monologue):

And I—

8. CAPTION (SARA's monologue):

—I can't.

PAGE TWENTY. Five panels.

Panel 1

Amazingly, AVATAR seems to recoil away from the raised shield.

1. CAPTION (SARA's monologue):

I want to.

Panel 2

Then, in a movement so fast that it b-l-u-r-s across the panel, AVATAR is behind JAMES and smashing him in the back of the head with an elbow. JAMES is going down.

2. SFX:

CRACK!

3. CAPTION (SARA's monologue):

They need my power.

Panel 3

Now FRED is next in line, facing AVATAR alone.

4. FRED:

All right. Let's see how you like—

5. CAPTION (SARA's monologue):

But I can't move.

Panel 4

Close-up on FRED's eyes. AVATAR's face stares back at us from within them.

6. FRED:

This!

Panel 5

Same close-up. But now FRED's eyes are his normal brown and the image of AVATAR is gone.

7. FRED:

Oh sh—

PAGE TWENTY-ONE. Four panels.

Panel 1

AVATAR casually back-hands FRED, taking him out.

1. SFX:

Smack!

2. CAPTION (SARA's monologue):

He's tearing my friends apart and I can't move.

Panel 2

AVATAR turns his gaze on where CHI-YUN and SARA stand together. They are against the tunnel wall, not blocking his progress.

3. CHI-YUN:

Sara?

4. CAPTION (SARA's monologue):

Not because I'm afraid to fight it.

5. CHI-YUN:

Sara? What do we do?

6. CAPTION (SARA's monologue):

But because I'm afraid of its entire existence.

Panel 3

AVATAR has stepped up to SARA and is leaning forwards to put his head on a level with hers. They are face-to-face. But it's not doing anything. Just... looking.

7. CAPTION (SARA's monologue):

It's the thing I don't want to be true.

Panel 4

SARA is on her knees, hands covering her face. AVATAR looks down at her. He hasn't apparently touched her.

8. CAPTION (SARA's monologue):

But it's true.

PAGE TWENTY-TWO. Four panels.

Panel 1

Leaving the two girls -- SARA on her knees and CHI-YUN standing but looking completely indecisive -- AVATAR takes off down the tunnel at a run. Again, he's moving so fast that he seems to blur across the panel.

1. CAPTION (SARA's monologue):

And I don't know what to do.

Panel 2

CHI-YUN looks down at SARA, who still hasn't moved.

2. CHI-YUN:

Sara? Talk to me!

3. SARA (softly):

I'm so sorry.

4. CAPTION (SARA's monologue):

It's never going to be right again.

Panel 3

CHI-YUN looks back up the tunnel, to where none of her friends are moving.

No dialogue.

Panel 4

A cheetah (CHI-YUN, obviously) racing down the tunnel in the direction AVATAR took. Alone.

5. CAPTION (SARA's monologue):

It's the end of the world.

Letters Page END of ISSUE 31

Next: Astra

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© 2006 by David Meadows