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Effluent

This issue opens several days after the previous. It is now mid-December in New York and the weather is COLD -- clothing and outdoor scenes should reflect this.

Narration in this issue is in the form of FRED's WEB LOG ("BLOG"). This should be indicated by a common but distinctive computer font. These captions will be marked in the script as "FRED's BLOG".

PAGE ONE. Four panels.

Panel 1

A busy street in New York. It's late afternoon in December and the light is already beginning to fail. Pedestrians hurry along the sidewalk and cars clog the road. Central to the scene are JAMES, FRED, and WANE, walking side-by-side. All are dressed for the cold -- jackets zipped up and hands in pockets.

1. CAPTION:

15 December 2014.

2. FRED:

All I'm saying is that we should keep our heads down for a while. The city is big enough to hide out in.

3. WANE:

Totally agree with you, dude.

4. CAPTION (FRED's BLOG):

Wane always agrees with me. Hooking up with him brought some long-overdue common sense to the group.

Panel 2

Same scene (a few steps later, so different passers-by, but essentially no change).

5. CAPTION:

New York City.

6. SFX:

WEEEEEooooooooWEEEEEEEEoooooooWEEEEEEEEEE

7. VOICE #1 (off-panel):

Ok, back off there, nothing to see!

8. VOICE #2 (off-panel):

Make some room there, folks!

Panel 3

Same scene. JAMES is striding ahead of the other two.

9. CAPTION (FRED's BLOG):

Unfortunately—

10. JAMES:

Come on, let's see what's happening.

Panel 4

FRED and WANE look at each other and roll their eyes.

11. CAPTION (FRED's BLOG):

There isn't enough common sense in the universe to rein in James.

PAGE TWO. One panel.

Panel 1

Full-page splash showing what's happening. An ambulance is parked by the kerb. The rear doors are open and two paramedics wheel a man towards it on a stretcher. The man is in very bad shape -- his blue overalls are soaked in blood, as if from multiple wounds. The cloth is torn as if the injuries were from something like a knife rather than a gun.

A police car is also on the scene and uniformed officers are trying to hold back a crowd of onlookers. Somehow, JAMES, FRED and WANE have got to the front of the crowd and are next to the ambulance -- the stretcher will pass right by them.

No dialogue.

PAGE THREE. Five panels.

Panel 1

JAMES attracts the attention of the one the uniformed cops.

1. JAMES:

What's happening, officer?

2. OFFICER:

Nothing to concern you, son. Move on.

Panel 2

FRED and WANE look as the injured man is wheeled past them. He's a mess. His eyes are closed but he's presumably unconscious not dead (they would cover his face if he was dead).

No dialogue.

Panel 3

Still next to FRED and WANE, the man's eyes are open and he is waving his arms around.

3. MAN:

Aaaaaaaaaa!

4. MEDIC #1:

He's having a seizure!

5. MEDIC #2:

Damn it! Hold him down!

Panel 4

One of the man's flailing hands grabs FRED's wrist.

6. MAN:

Aaaaaaaaaa!

7. CAPTION (FRED's BLOG):

Usually I have to concentrate to use my powers. Reach out for a mind, look for something I can recognize and hook onto it.

Panel 5

Close-up of FRED's face. His eyes, open wide in alarm, reflect the face of the injured man.

8. CAPTION (FRED's BLOG):

Usually.

PAGE FOUR. Eight panels.

This page is a jumble of images. Panels sit at crooked angles and overlap each other. The art should be stark black-and-white, except for the last panel which is coloured in a red wash. There is no dialogue on this page.

Panel 1

The man and a companion, both dressed in overalls, are in a city street, setting a small guard rail around a manhole cover. The both have hard-hats and tool harnesses.

Panel 2

They are descending through the open manhole.

Panel 3

The two of them walk side-by-side along a maintenance tunnel. They light their way with flashlights, following pipes.

Panel 4

They are now in an older tunnel. The walls are cracked and weathered. Water drips and puddles on the floor. The injured man is now in the lead and his companion walks behind him.

Panel 5

Close-up on the lead man, jumping with surprise as his companion grabs his shoulder from behind. Note that we can't see the second man in this close-up -- just his hand.

Panel 6

The man looks back at the hand grabbing him -- and in a wider view we can see that it's just a hand! It ends in a jagged, bloody stump and the body it was once attacked to is nowhere to be seen.

Panel 7

Close up on the man's face, stretch into an expression of terror.

Panel 8

And now we see what he's screaming at -- or part of it anyway. the panel is filled with a wide, gaping mouth, lines with rows of big, sharp, pointed teeth. It's coming out of panel towards our POV... and everything is red...

PAGE FIVE. Six panels.

Panel 1

An exterior view of the New York HAILEY HOTEL (typical modern, high-rise hotel; we've seen them before). The sky is dark and many of the windows are showing lights -- it's evening. The speech caption comes from a random window on a random floor (it doesn't really matter which).

1. SARA:

It's lots of little effects. Clumsiness. Losing things. Bad timing. Normal for anybody else, but for me—

Panel 2

Now the interior of PAUL's hotel room. It's large and luxurious, as we expect from a HAILEY. PAUL and SARA sit in leather armchairs, facing one another. She has her legs folded up under herself, her shoes on the floor by the chair. A floor lamp illuminates them, leaving most of the room dark.

2. SARA:

—That's never happened before. My power always made me... lucky.

3. PAUL:

But when you were shot, wasn't it lucky that we had just met Wane and he had a healing power?

4. SARA:

Yeah, right. Before that, I would never have been shot at all!

Panel 3

Close-up on PAUL for his dialogue.

5. PAUL:

You can't say that with certainty. Maybe—

6. SARA (off-panel):

No. It's gone. I know it's gone. And I know why. I've worked out when it must have happened and I know exactly why it happened.

Panel 4

Close up on SARA, and she doesn't look unhappy or angry, just matter-of-fact as she says:

7. SARA:

It's because of James.

Panel 5

A wide view shows the two of them again. PAUL looks astonished. SARA is standing and putting her feet in her shoes.

8. PAUL:

What?

9. SARA:

Sorry, Paul, this was a mistake. I can't talk about it.

Panel 6

Just PAUL, as his head is turned to follow her across the room (she's going out the door).

10. PAUL:

Sara! It will help you to talk—

11. SFX (off-panel):

SLAM!

12. PAUL:

—about it. Damn it.

PAGE SIX. Six panels.

Panel 1

A hotel bedroom at night. It's FRED's room in the New York HAILEY HOTEL. FRED lies sleeping.

1. DISEMBODIED THOUGHT:

Aaaaaaaaaa!

Panel 2

FRED is sitting upright in bed, holding his head in his hands.

2. FRED:

Ah, hell.

Panel 3

FRED is by the window, with the curtains open, watching the Sun begin to climb above the Manhattan skyline. (He's probably naked but because he's just in silhouette the scene will still be tasteful.)

3. FRED:

There is no way I am going down there.

Panel 4

Another hotel bedroom, not a HAILEY but of similar high class. A blonde woman is sleeping in the bed (we don't see her face clearly as it's obscured by her hair).

4. DISEMBODIED THOUGHT:

Aaaaaaaaaa!

Panel 5

The woman is sitting up in bed, holding her head in her hands. Readers should now recognise her -- it's FAITH, last seen in ISSUE 30. She is wearing night clothes (which are probably quite revealing but still within the bounds of the Comics Code, please).

5. FAITH:

What the hell—

Panel 6

FAITH is by the window, with the curtains open, watching the Sun begin to climb above the Manhattan skyline. It's a slightly different view from the one FRED saw, but yes they are both in Manhattan and not too far apart.

6. FAITH:

Who are you?

PAGE SEVEN. Six panels.

Panel 1

FRED wanders into the dining room of the HAILEY hotel. He's dressed in jeans and t-shirt and it doesn't look like he's bothered to shave this morning. He's alone. The dining room is spacious but almost deserted.

No dialogue.

Panel 2

FRED sits alone at a table laid for breakfast. A cup of coffee is in front of him and he looks at it blankly.

1. VOICE (off-panel):

You look like hell, kid.

Panel 3

FRED looks up as PAUL CHANT (last seen in ISSUE 28, and readers might not remember that far back so FRED will give a convenient summary) sits down at his table. CHANT is as unkempt as usual, untidy hair, dark stubble, and a crumpled suit. He has a slim folder tucked under one arm.

2. CAPTION (FRED's BLOG):

Paul Chant. A writer and paranormal investigator. Last time we met, we came to an agreement about sharing information.

3. CAPTION (FRED's BLOG):

I'm still not sure how that's gonna work in practice.

4. FRED:

Had a bad night. How did you find me, Chant?

5. CHANT:

I saw you in the crowd yesterday, followed you here.

6. FRED:

In the crowd?

Panel 4

CHANT is looking away from FRED and waving to attract a waiter's attention.

7. CHANT:

Yeah. By the accident scene.

8. FRED:

Oh.

9. CHANT:

Can I get some coffee here?

Panel 5

CHANT leans over the table towards FRED.

10. CHANT:

You know where it happened, don't you? What he saw?

11. FRED:

What makes you think that?

12. CHANT:

I saw him grab you. I know what you can do. Plus—

Panel 6

Close-up on FRED's face.

13. CHANT (off-panel):

—I can see it in your eyes.

PAGE EIGHT. Four panels.

Panel 1

Another night, another view of FRED sitting up in bed holding his head in his hands.

1. CAPTION (voice-over):

"I know the look of people who have seen... things."

2. CAPTION (voice-over):

"I know what you do and the sort of things you fight every day. But those are things you can fight. You can live with those bogeymen because you've faced them and survived."

Panel 2

Still in bed, FRED looks at a folder on the bedside table -- the same folder CHANT was carrying. We can see written on the cover "NEW YORK — SEWERS".

3. CAPTION (voice-over):

"What you saw in that man's mind isn't like that. It's the unknown. You have no control over it."

Panel 3

A small gymnasium. JAMES is lying on a flat bench, pressing an impressive amount of weight. FRED stands looking down at him -- not in gym clothes, looking as if he's just walked in. The folder is tucked underneath his arm.

4. CAPTION (voice-over):

"And until you face it, you'll never get it out of your nightmares."

5. FRED:

There's a monster in the sewers and we need to find it and deal with it.

Panel 4

JAMES is sitting on the bench and looking up at FRED.

6. JAMES:

Okay...

PAGE NINE. Five panels.

Panel 1

The whole group (FRED, JAMES, SARA, WANE, PAUL) are sitting around a low table in their hotel suite. Spread out on the table are several newspaper clippings and photographs. We don't need to see exact details, but basically it is a record of other "monster" attacks.

1. FRED:

There have been six reported sightings in the last month. Two of them involved attacks. At least one may have involved a death.

2. FRED:

That's not counting missing persons reports.

3. PAUL:

Where did you get all this stuff?

Panel 2

FRED is holding up a newspaper clipping so that the rest of the group (and the reader) can see the headline "ALLIGATORS IN THE SEWERS?"

4. FRED:

That's not important. The important thing is that something is down there killing people.

Panel 3

JAMES is looking at a photograph (the reader only sees the back of it).

5. JAMES:

I agree. Good work, Fred.

6. FRED (off-panel):

Gee, thanks.

7. JAMES:

Who's with us on this?

Panel 4

Wider view to show the whole group.

8. PAUL:

Do you have any idea how many miles of tunnels are under Manhattan?

9. JAMES:

No. But I'm sure we can find out.

10. WANE:

We're going to be walking around underground for weeks!

11. JAMES:

So, you're coming?

Panel 5

WANE slaps his forehead in disbelief.

12. SARA:

You can't talk sense to him while he's like this.

13. JAMES:

Hey!

14. FRED:

Don't worry—

PAGE TEN. Six panels.

Panel 1

An outdoor scene. Daylight. Our heroes are clustered around a sewer access hatch in a narrow alley. WANE and PAUL are keeping a nervous watch while JAMES, watched by FRED and SARA, lifts the hatch. JAMES is in full costume, masked and carrying his SHIELD. The others are dressed in warm outdoor clothing. They all carry flashlights.

1. CAPTION (voice-over, continuing FRED's speech):

"—I know where to go."

2. JAMES:

Sure it's this one, Fred?

3. FRED:

It's not the one they went down but it's the closest we can use without attracting attention.

Panel 2

JAMES is descending into the hole.

4. FRED:

Head east. There's a ladder down to a lower level.

5. JAMES:

East then down. Got it.

Panel 3

SARA descends into the hole.

6. SARA:

It had to be sewers again, didn't it?

Panel 4

WANE descends into the hole.

7. WANE:

I don't mind sewers. Now, monsters...

Panel 5

PAUL descends into the hole.

8. PAUL:

Amen to that.

Panel 6

FRED descends into the hole.

9. VOICE (from below):

Better shut the cover after us, Fred.

10. FRED:

Yes sir Captain Tidy sir!

11. CAPTION (FRED's BLOG):

Heh. Captain Tidy. I should make a list of these.

PAGE ELEVEN. Five panels.

Panel 1

They make their way in single file along a (relatively) dry passage. The only light is from their flashlights. Marching order is: FRED in front, JAMES, SARA, PAUL, WANE. They are walking left-to-right on the panel so that their captions flow correctly.

1. WANE:

So, looking for a big monster with lots of teeth? I'm thinking alligator.

2. PAUL:

Alligators in the sewers are an urban myth.

3. SARA:

Oh, right, so it must be some other big monster with lots of teeth. 'Cause, you know, there are so many of them to choose from...

4. JAMES:

Let's just keep open minds, shall we?

Panel 2

The group continues walking. This is essentially the same POV as the previous panel, indicating that some time is passing in silence. (As they progress through the panels on this page the tunnel background should get progressively older, more weathered, more wet, and more slimy.)

No dialogue.

Panel 3

Basically the same view, a little later.

5. WANE:

When we meet it, what's the plan for beating it?

6. PAUL:

I'm sure you can just kick it into oblivion.

7. SARA:

Yeah, show him your flying fist.

8. JAMES (softly):

Heh.

Panel 4

Another silent walking panel.

No dialogue.

Panel 5

Same view again... the repetition is deliberate to show the reader a sense of monotonous time passing.

9. WANE:

What if there's lots of them?

10. PAUL:

I'm not expecting to find any. I think Fred picked up a remnant of the man's subconscious fears.

11. SARA:

Well something tore him up, according to the news last night.

12. JAMES:

We—

13. FRED:

Shh!

PAGE TWELVE. Five panels.

Panel 1

Close up of FRED holding up his hand for silence.

1. FRED:

It happened somewhere around here.

Panel 2

Wide view of the group again. They are all looking around alertly.

2. PAUL:

Are you sure? All these tunnels look the same.

3. FRED:

I can feel it. The psychic impressions of the dead man.

Panel 3

Close up of WANE stooping down and shining his flashlight at something on the floor. It's badly torn up but still recognisable as a leather boot.

4. WANE:

I think he's right.

Panel 4

PAUL is leaning over WANE's shoulder to look.

5. PAUL:

Oh, God, is that a foot still in it?

Panel 5

Close up of SARA who has wrapped her arms around herself.

6. SARA:

Can I vote not to do this mission now?

PAGE THIRTEEN. Four panels.

Panel 1

Close-up on JAMES.

1. JAMES:

Come on, we've faced worse.

2. SFX:

sssssssssss

3. JAMES:

Did you hear that?

Panel 2

Wider view to show FRED ahead of JAMES, shining his flashlight down the tunnel.

4. FRED:

I think it came from down there.

5. JAMES:

I'll go first.

6. FRED:

I'm cool with that.

Panel 3

JAMES is now moving forward in the lead, with PAUL behind him. Except now PAUL has changed into JEROME, so I'll label his captions as such. (New readers will just have to be confused; I can't explain it every time.)

7. JEROME:

I am at your back, James.

8. JAMES:

Good to know, Jerome.

Panel 4

At the back, WANE is shuffling sideways so he can shine his light backwards and watch behind as he walks.

9. JAMES (off-panel):

Stay alert, Wane. We don't know how these tunnels link up and it could get behind us.

10. WANE (softly):

Great. It's always the guy at the back who gets picked off first.

PAGE FOURTEEN. Two panels.

Panel 1

The passage opens out into a big, square chamber, which we will use a BIG panel to represent. It's a big water cistern. There is a square pool of water, perfectly still and impenetrably black. This is surrounded on all sides by a narrow ledge. The team has emerged from a side tunnel and they are clustered in the tunnel mouth and on the ledge. The water is only a few centimetres below them. The chamber is very high -- so high that we don't ever need to show the roof. Shafts of light might filter down from above to supplement their flashlights. In the opposite wall (to their entry point) another tunnel leads out of the chamber. In the left-hand wall is another tunnel, but this one is above their heads, about two metres above the level of the ledge, and reached by a metal ladder attached to the wall. In the right-hand wall is an outlet pipe, about a metre above the ledge. This is wide enough to fit a person, at a squeeze. A small but steady flow of water comes out of it and splashes onto the ledge. (None of these extra tunnels are essential to the action, they're just to add detail to the setting.) Everything looks damp and slimy.

No dialogue.

Panel 2

In a small panel (only a strip at the bottom of the page) we get a close up of the still water as flashlights play over it. But wait -- it's not still! There is an unmistakable ripple spreading out from the centre.

No dialogue.

PAGE FIFTEEN. Two panels.

Panel 1

Identical to the previous panel -- a small strip at the top of the page shows a close-up of the water, leaving the bulk of the page for the next panel. Now there is a DEFINITE disturbance in the water, as the centre is bubbling up violently.

1. JAMES (off-panel):

Everybody back—

Panel 2

And in the same view as PANEL ONE on the previous page we see the MONSTER erupt from the water. It's big -- twice the bulk of a big man -- and it's... well... it's an ALLIGATOR. To be specific, it's an alligator that walks like a man. It has the scaly green skin, the alligator's head (with BIG teeth) and a long tail, but it's bipedal, its hind legs developed like a human's so it can walk upright. Its front limbs are in proportion to its bulk and its digits look adapted for grabbing and holding things, as well as being tipped with sharp claws.

2. MONSTER:

Hssssssssssss

PAGE SIXTEEN. Four panels.

Panel 1

The MONSTER has hurled itself at the party. Though its tail and lower body are still in the pool, enough of it is out of the water to be on eye-level with JAMES -- and its open mouth is darting forward to bite! In all the monster fight panels there should be plenty of thrashing and splashing. Everything is a confusion of water and flashlights and darkness.

1. MONSTER:

Sssssss

Panel 2

JAMES has brought his SHIELD up and the MONSTER's jaws close on the edge of the metal disk.

2. SFX:

CLANG!

Panel 3

While JAMES and the MONSTER struggle for possession of the SHIELD, JEROME has grabbed the MONSTER's torso and is vaulting onto its back.

3. MONSTER:

Hhhhsssssss

4. JAMES:

That's my shield, you—

5. JEROME:

Hold him, James!

Panel 4

JEROME is on the MONSTER's back, his arms clamped around its neck.

6. JEROME:

Its... neck...is tough as a...uhhh... tree!

PAGE SEVENTEEN. Four panels.

Panel 1

As JEROME squeezes, the MONSTER lifts up its head -- not releasing its jaws from the SHIELD and thus lifting JAMES bodily off the ground. One hand is reaching behind it and its claws are digging deeply into JEROME's arm.

1. MONSTER:

Hhhhsssssss

2. JEROME:

Aaaa!

Panel 2

The MONSTER has plucked JEROME from its back and hurled him across the chamber. JEROME strikes the wall head first. JAMES is dangling helplessly with his SHIELD still in the monster's bite.

3. SFX (JEROME):

THUD!

Panel 3

JEROME drops into the water. We can also see SARA running along the ledge towards where he was thrown.

4. SARA:

Jerome!

Panel 4

In the background of the panel we can see SARA diving smoothly into the water where JEROME has not yet surfaced. But the foreground shows WANE entering the action. With JAMES still dangling, WANE delivers a spinning kick past him to the MONSTER's throat. Its claws are raking JAMES but don't seem able to pierce his costume.

5. WANE:

James, let go of the damn' shield!

6. JAMES:

If it's biting this it's not biting anyone else!

7. SFX (kick):

THUD!

PAGE EIGHTEEN. Four panels.

Panel 1

The MONSTER has ducked his head into the water, completely submerging JAMES. From the ledge, WANE drives his foot into its head.

1. SFX:

SPLASH!

2. WANE:

Fred! Dude, it's time for some mind zapping!

3. CAPTION (FRED's BLOG):

It's not human. I can't make contact with the mind of a monster.

Panel 2

Close up of FRED on the walkway.

4. CAPTION (FRED's BLOG):

But that's just an excuse. I don't know that I can't.

5. CAPTION (FRED's BLOG):

I just don't want to find out what I'll see looking back at me.

Panel 3

The MONSTER's head is up again, shaking JAMES like a dog shakes a toy. It is further out in the water and WANE stands helplessly out of reach.

6. WANE:

We've got to bring it onto solid ground!

7. JAMES:

<gasp> —Wane, Sara's still—

Panel 4

Back to a close-up on FRED.

8. CAPTION (FRED's BLOG):

Come on, Fred.

9. CAPTION (FRED's BLOG):

Look inside the monster, damn it.

PAGE NINETEEN. Five panels.

Panel 1

Close-up on FRED's eyes. The MONSTER shows up in them as a gaping, tooth-filled mouth rushing out to engulf us.

1. CAPTION (FRED's BLOG):

Find something inside it you can recognize...

Panel 2

Same view in even more extreme close-up.

2. CAPTION (FRED's BLOG):

And squeeze it until it—

Panel 3

The MONSTER is dropping JAMES and falling limply into the water.

No dialogue.

Panel 4

The MONSTER is face-down and motionless on the surface. JAMES clings to the ledge with one hand while holding his SHIELD up towards WANE.

3. JAMES:

Hold this, I'm diving for—

Panel 5

SARA bursts to the surface, supporting a limp JEROME.

4. SARA:

<Hhhhhhhh!>

PAGE TWENTY. Five panels.

Panel 1

JAMES is now on the ledge and pulling JEROME up out of SARA's arms.

No dialogue.

Panel 2

WANE is kneeling next to JEROME, examining him. JAMES is climbing into the water next to SARA. His SHIELD is lying on the ledge.

1. JAMES:

Stay there.

2. SARA:

Huh?

3. JAMES:

It's still alive. We'll need to stop it drowning.

4. SARA:

Tell me that's a joke?

Panel 3

JAMES and SARA are in the middle of the water, cautiously approaching the MONSTER.

5. WANE (off-panel):

Looks like a concussion. Maybe a broken collar bone. And he's losing blood.

6. WANE (off-panel):

I can fix it.

7. WANE (off-panel):

It's only a scratch!

8. SARA (softly):

God, I miss Chi-Yun.

Panel 4

SARA, WANE, JEROME and JAMES are now hauling the limp MONSTER out of the water. Behind them FRED slouches against the wall.

9. SARA:

What are we going to do with it?

10. FRED:

Taken care of. I need to call a man who will meet us up top with a film crew.

11. WANE:

A film crew?

Panel 5

Close up of FRED, looking at his phone with some irritation.

12. FRED:

Yeah. Whatever this is, if it's not documented it's just gonna vanish into a government lab and... well... you know.

13. FRED:

Damn it, can't get a signal down here.

PAGE TWENTY-ONE. Five panels.

Panel 1

A scene switch to above ground where a minor media circus is surrounding a sewer access cover. A group of municipal workers are straining to get the MONSTER up from below. Paramedics and white-coated scientists stand ready to examine it.

No dialogue.

Panel 2

PAUL CHANT is being interviewed by a female TV reporter. She's all young and perky and he's in his disreputable raincoat and clearly thinking that alligators should eat all young, perky reporters.

1. REPORTER:

World-famous paranormal investigator Paul Chant, just how did you learn about this creature?

2. CHANT:

I can't reveal my sources.

3. REPORTER:

Any insights into what it actually is?

4. CHANT:

That's for the scientists to determine.

Panel 3

Close up on CHANT's irritated face.

5. REPORTER (off-panel):

So you're turning it over for dissection?

6. CHANT:

The university has the best zoological facility in the state and the creature will be treated humanely and kept in the best possible conditions.

7. REPORTER (off-panel):

With full access for reporters?

8. CHANT:

Naturally. We're not running Area 51 here.

Panel 4

The perky young reporter turns a perky grin to the camera (we can still see CHANT in the background).

9. REPORTER:

Ha, ha, ha! Area 51! That was Paul Chant and the amazing story of New York's alligator man. And now—

10. FRED (disembodied thought):

Area 51. It better not be, Chant.

11. CHANT (thought):

Relax. I trust these guys.

Panel 5

CHANT is now standing next to where the unconscious MONSTER is being loaded aboard an ambulance.

12. FRED (disembodied thought):

If they find it's a man — if it's intelligent— you'll tell me?

13. CHANT (thought):

If it's a man? You think—

14. FRED (disembodied thought):

At the moment I don't think anything.

PAGE TWENTY-TWO. Five panels.

Panel 1

A view of the big cistern chamber. Quiet and deserted.

1. CAPTION (FRED's BLOG):

But there was something.

Panel 2

Now our POV is looking down one of the side tunnels off the cistern chamber (we will ignore the darkness and show the scene in full detail). There seems to be a pile of debris down there.

2. CAPTION (FRED's BLOG):

Deep in its mind. Buried underneath its replilian instincts.

Panel 3

Now we see the debris in close up. It's made up of the kinds of rubbish you might find washed into the sewers -- carry-out food packaging, bits of broken wood, household debris, etc. There are also torn scraps of clothing. And a glint of something small and metallic.

3. CAPTION (FRED's BLOG):

A memory of him as—

Panel 4

Close up of the metallic object. Military dog tags on a broken metal chain.

4. CAPTION (FRED's BLOG):

No. It was nothing. My imagination.

Panel 5

Close up of the dog tags, close enough to read the lettering:
PVT D. GARCIA
U.S.M.C.
and a serial number.

5. CAPTION (FRED's BLOG):

I'm just being paranoid.

Letters Page END of ISSUE 47

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© 2007 by David Meadows