Chapter 6 ((CHOKHMAH))

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**Chokhmah** (Hebrew: חכמה "wisdom") The final sephirot in the pillar of mercy is associated with fatherhood, wisdom, and the color grey. Furthermore, the slightly incomprehensible phrase "wisdom comes from nothing" has been repeated in certain texts related to this sephirot, allowing me to further cultivate a sense of growing entropy as the series comes to an end (within the pillar of mercy arc)

For these themes, within this issue, I will finally explain all of Jupiter Black's background, to include his powers, his irradiating of his family, reveal him to be the real killer of Dirac, explain his deformity, and at last show him killing General Graves.

Open on a shot of a doorway, at night. It is dimly lit, and the only light that seems to pour in is from the street outside. There is a figure on the other side of the doorway-- we know this, as we can see through a glass plane within the door. The figure is moving, unlocking the door, and moving through. The figure knows the layout of the doorway, and knows the light switch is to his right. He flips it on-- illuminated, we now see that it is Dirac entering his own home. He fumbles with the light switch, his coat, and his keys for a moment, before looking towards the viewer, down the hallway, offscreen, to something we cannot see. A voice, crackling like cinders, speaks out to him. Dirac appears shocked when he hears it.

JUPITER BLACK (OFFSCREEN): Good evening, professor.

Cut to a shot of Jupiter, reclining a chair in a room which faces, assumably, into the doorway. Jupiter's posture within the chair is strange-- his hands seem to grip the arms of the chair, but his body sinks into it. His presence brings a sickly air to the room, light seems to bend around him, and the temperature sinks.

JUPITER BLACK: We have much to discuss.

DIRAC: For the past few nights, since Daniela has been gone, I've been dreaming. Vividly. It hasn't been like this, not since I left the project, since I was close to the girl.

JUPITER BLACK: You've been contaminated. We'll have to operate.

DIRAC: I'm the last piece, aren't I? God, the visions are unbearable. I've seen the burning forests and the shuttered factories. Jude did this, didn't he? He's out of control. He's not the man who left us all those years ago.

JUPITER BLACK: I know.

DIRAC: You have to stop him.

JUPITER BLACK: God help us all.

PAGE 1

A lone car winds down a cobblestone road, over which a canopy of trees arch, cathedral-like. The car is black in color, well-maintained, it is a modern luxury car of some sort. Fragmented pillars of moonlight scattered through the trees illuminate its passage.

PAGE 2

Inside we see Dr. Bryan occupying the middle, back seat of the luxury car; head down, hands in lap. She appears forlorn, defeated; her jaw is clenched and her posture indicates some sort of tension running through her. Flanking either side of her, are two large, well-dressed men. They wear matching black suits, with white shirts and black ties. They are stony, unmoving, and can clearly overpower the fragile woman between them should the need arise. However, only one of them looks forward, while the other is more interested in the scenery, or what he can distinguish in the moonlight, as it speeds past the window.

PAGE 3

Soon the car is upon a wrought iron gate, which seemingly anticipates their arrival and swings open by some unseen mechanical force. As the gate closes behind the vehicle, we see the circular, winged motif of the Synaxis is worked into the metal of the gate. Beyond this gate, we see pillars holding ornamental bowls of fire causing the shadows to dance and play upon the face of the gothic mansion behind them. From the outside, we see Dr. Bryan look out the window, in a vain attempt to distinguish her surroundings. First, the man to her left exits, while the one to her right remains. He appears courteous as he opens the door for her to exit, and waits patiently outside it. His patience is likely a means to better observe her, and ensure her compliance.

SUITED MAN: Your audience awaits, Ms. Bryan.

The two men flank Bryan as she makes her way up the stairs, and beyond the ornate wooden doors which have swung open in anticipation. She passes through a corridor lit only by dimmed amber lights, which are reflected upon cold, checkered marble floors. There is a stillness to the air, a sense of immense age which has only gathered with it power and secrecy.

PAGE 4

Eventually, the corridor opens up to an enormous chamber, around which the members of the Synaxis await. Still cold, still dark, we are unable to truly surmise the size and scale of the room, as the ceiling itself is darkened. It is possibly vaulted, or it possibly extends to another universe, even Dr. Bryan is unsure.

PAGE 5

The suited men continue to flank Bryan, as they begin to aid her in undressing. They take from her her coat, shirt, shoes and skirt-- she is soon bare. The suited men then exit the chamber, leaving her alone with the shadowy personalities still peering from the high pulpits about her. In their hands are her possessions.

SYNAXIS: We regret having brought you to us in this way...

SYNAXIS: It is most unfortunate we must reunite like this, after such a time.

SYNAXIS: You understand it is for your safety, as well as ours.

BRYAN: If that is what you say.

PAGE 6

The Synaxis continue their interrogation of Bryan.

SYNAXIS: Dr. Bryan, we understand you had more contact with the one we call Jupiter Black than anyone else.

BRYAN: That is correct.

SYNAXIS: Then you will know why we have brought you here.

BRYAN: Your dog is off his leash.

SYNAXIS: Precisely.

SYNAXIS: He is an instrument of the oldest ritual known to man.

BRYAN: And what ritual is that?

SYNAXIS: War.

 PAGE 24

JUPITER: I have spent years hating you. A lifetime wasted in a flickering haze, where in what few waking moments I had, the only organized thoughts I was able to maintain were of how to kill you. I do not expect you to understand or empathize, because in truth, no human being ever should have to. Now that I am here, words fail me. Nothing I say now can ever capture what it is that I feel for you in this moment.

GRAVES: I was always the most proud of you.

JUPITER: I love you, Dad.

[SOUND FX: GUNSHOT]

JUDE: Oh god. How could I have known? No, this isn't meant to be this way. If I had just known you were ok, that you survived, I would have returned. There were greater risks involved then! There were more lives at stake-- it was greater than you or me.

JUPITER BLACK: No, this isn't revenge, my friend. This is duty, yes-- with great stakes as well. I am simply closing a book that was never meant to be opened. I am ending a story I never wanted to be part of-- but you made me, anyways. We are all responsible for what we bring into this world. Isn't that what a man does? What kind of man abandons his progeny? No man-- beasts do that. Are you a beast? Look upon me. Look upon you work. Despair.

Two figures are shilouetted against the glow emmanating from the AKASHIC. They stand upon the rim of the device, their feet navigating the cumbersome network of cables which ushers forth from the pit, like a jungle floor. It is Jupiter Black and Dr. Bryant. Both look upon the device with awe. Jupiter appears to be uncomfortable within his new suit.

JUPITER BLACK: I know what that machine does. I know what it's used for. Tell me: has it ever said, anywhere, that I was ever truly happy?

BRYANT: Do you want to ask it? What if you didn't like the answer?

JUPITER BLACK: I'll take my chances.