Character Bios:

DAISE: Classic Communion alien looking, large dark elliptical slanted eyes, tiny nose and mouth, no noticeable ears (but tiny earholes). Not green, but more a yellowish tan.

MARTIN: African American, skinny, male, brown distant or stern eyes, black short hair, in his 30’s.

Kayla: African American, 30’s, chubby, female, open face, friendly brown eyes, a few freckles on her cheeks. Hair’s up to you.

SHERRIE: Caucasian, chubby, red short hair (style up to you) 30’s, tired hazel eyes.


PAGE ONE (1 Panel)

Full Page Splash: A sorta bird’s eye p.o.v. from 50-100 feet up, looking down on a sunny suburban back yard, trees and mottled leaf shadow patterns all around. An oval above-ground pool is attached to a wooden red deck, ratty parasol umbrella sticks out of a round metal table with a few chairs scattered around. Towels, toys and other sundry summertime objects litter the deck’s surface. The deck is attached to a one-story ranch house with grey shingled roof, brick chimney, with one of those old pointy aluminum t.v. antennas still attached. Some trees round out this scene, a car in the driveway maybe. A kid’s innertube floats in the pool, and also, Martin. He’s wearing a dark full sleeve shirt, dark pants, black shoes. There is a blonde-haired white kid standing near the edge of the deck, t-shirt, shorts, holding a juice box, looking at the man.
FLOATING CAPTION: A Rhode Island Suburb. Sunday.

PAGE TWO (4 Panels)

Panel 1: Looking up at sun from a few inches below water, bubbles.

Panel 2: Close up side shot of profile of the man’s nose and mouth, gasping for air, with the frame showing him both above and below the water line. He is sucking in air furiously.

Panel 3: Bird’s eye view p.o.v., but hovering about ten feet over the pool, now.
OFF-PANEL: Hey, get away from the ed– Oh my gawd!? Nolan, get inside, right now!

Panel 4: Shot of the pool, bird’s eye p.o.v., empty now except for the kid’s innertube.

PAGE TWO (5 Panels)

Panel 1: We’re looking at a random 1-car garage, trees around, suburbia, wooden fencing. It is actually in the same neighborhood. The garage door has 4 windows in it, large panes of glass.
NARRATOR CAPTION: I have no idea why Daise comes here, trying to change things. She says she’s from the future because of course she is. I’m off my meds and this is what I get. Absolute infuckingsanity.

Panel 2: Zooming in on one of the panels of glass.

Panel 3: Zooming more in on one pane of glass. A thin, blurry leg melts or pulls out of the surface of the glass. Dark pants, black shoes. Same man.

Panel 4: More of the man appears seemingly from the glass itself. He holds on to the top of the window, scuttling lithely out of the square. He is sopping wet.
NARRATOR CAPTION: This man is why I’m alive right now. He is way out there and he drinks too much, but he saved me. Daise just helped him get there.

Panel 5: We see him from the back, walking down the sidewalk of the suburban street. Tree leaf shadows fall on modest cars lining the sidewalks, some random neighborhood folks here and there, maybe one or two looking in his direction with surprise or concern. Soaked, he leaves a trail of water droplets behind him.

PAGE THREE (6 panels)

Panel 1: A long, thin shot of an obviously different street, more bare and industrial, from slightly above. Nighttime. Crescent moon, stars and wispy clouds. No trees below. Just warehouses, closed metal-grate shops, and blocky, utilitarian 3 Story apartment buildings with most of their blinds drawn. Street lamps, half of them on, give some contour to this lost-in-time part of town. It’s in a semi-grimy, semi-forgotten section of a medium-sized city near a large, brackish river.
FLOATING CAPTION: Wilmington, Delaware. 1:12 a.m, Monday morning.

Panel 2: Zooming in on one apartment building in particular. A grey, nondescript structure. You can see light cracks from certain windows, one window is bare, orangish light shines through.
SPEECH BALLOON FROM APT BLDG: Hey, it’s me. No, no.. I’m OK. I just.. What the fuck, Daise!?

Panel 3: Looking through this 2nd floor window, we see the man from the pool, now dressed in t-shirt and shorts, walking around a room, talking on a small wireless headset thing stuck in his ear.
MAN (MARTIN): Like what? I wound up in someone’s backyard pool yesterday! Freaked this family out..

Panel 4: Inside Martin’s apartment. 2 smallish rooms rooms. Spartan. Too spartan. And neat. Bottle of brandy in his hand. He’s staring at a framed painting on the wall of a human form hunched over, arms tight at its sides. There’s other cool, framed line art and abstract pastorals on the walls. Simple apartment furniture; a folded futon (that is also his bed), a chair and desk with a dimly lit lamp on it, some drawing paper with various forms/scenes, a stand, a filing cabinet.
MARTIN: No, I didn’t know where I’d come up. You don’t seem to know either.. I just knew I needed water… Yeah, but what if I hadn’t come to? Feel like I almost drowned..

Panel 5. Looking at Martin from the other side of the room, with the window behind him and a street light visible, buildings and night sky framed in the background. The light in the room coming from the desk lamp is not strong enough to get rid of shadows in the corners.
MARTIN: Sometimes I come out miles from home! Can we work on that? What do you mean it’s up to me? You said reflective surfaces, why can’t I just find something in my apartment to…
MARTIN: Ok, I’ll try that. No, we should definitely talk face to face. … No! I’m just chilling out tonight. Going out. Need to write. … Yeah. Let me know. Bye, Daise.

Panel 6. Martin has set the bottle on the counter in the kitchen. We see him scooched in front of the open refrigerator door, illuminated by its white triangle of light.
MARTIN: Fuuuck..

PAGE FOUR (4 Panels)

Panel 1: This panel is meant to show this other, bigger universe in an abstract, dynamic way. There is a broad-shouldered silhouette of some sort of bipedal form. You can put a star field inside this body, draw planets and suns, atoms spinning everywhere, strings, you decide. Go crazy.
NARRATOR: Daise won’t tell me how many times she’s tried this before. Martin’s always writing everything down in that notebook. He’s starting to talk about everything little more.

Panel 2: Panel’s theme is orbs and spheres. More abstract dynamism. Circles, worlds, worlds inside worlds, Kirby dots, whatever.
NARRATOR: You can tell this is changing him. Fast.

Panel 3: Still abstractly describing this other universe. You can mix forms and shapes here. Human silhouettes, mess with depth. Circles moving into more pointy, triangle shapes, insect mandibles and insect legs walking on the ‘surface’ of the panel, wings, mebbe a worm or bug crawling on the edge of the panel or in the gutter.
NARRATOR: And I don’t know yet if that’s good or bad.

Panel 4: Same shot as panel 3, but things are blurred at the edges. An eye-shaped ellipse of darkness is half-closing over this scene, mirroring the narrator’s closing eyelid.
NARRATOR: I dunno. Need to go to sleep.. Unless this is all a dream. I go on my first errand tomorrow. Save-the-world-slowly type stuff. Hah.

PAGE FIVE (5 Panels)

Panel 1: Shot of Martin sitting at a small square table in an old pub called The Walnut Room. Dark wood walls on one side, a row of windows on the other, the bar up front. 3 black men stand there, hunched, speaking to one another. Squat rows of tables or booths run cramped down both sides of this small pub. An old jukebox is off on the wood wall side. Sun’s just gone down. Martin is in the same outfit as in his apartment, frothy beer and a small laptop in front of him. He’s looking out the window at a woman, Kayla, walking by on the sidewalk. She is wearing a skirt and loose top, hair in a relaxed, shoulder length style, canvas side bag hanging from her shoulder.
FLOATING CAPTION: Tuesday afternoon..

Panel 2: From her p.o.v. on the sidewalk, looking into the bar. We see Martin with one hand raised, looking at her, smiling weakly. We see her in the reflection, one of her eyebrows is raised in an almost mock surprise.

Panel 3: We see the woman enter the bar.

Panel 4: We see (her name is) KAYLA inside the pub, standing in front of Martin’s table. She’s smiling wide, looking at him with open, brave eyes.
WOMAN: You wavin’ at me?

Panel 5: Martin looking up in shy amazement pulled together in a ‘trying to be cool’ expression.
MARTIN: Uh, yeah. I.. see you.. walking by a lot? I’m Martin.

PAGE SIX (4 Panels)

Panel 1: We get a look down the length of this small dive, a “one point perspective” shot, low, level with the tables. We see Kayla and Martin in the mid-ground to the bar and the men in the background. Kayla is still standing.
KAYLA: I’m Kayla. Yeah, I see you sitting here a lot. Surfin’ that ‘net?
MARTIN (still seated): Just.. writing. Uh, you wanna sit?
KAYLA: For a minute. If you tell me what.

Panel 2: Martin and Kayla seated at the small table.
KAYLA: It is you write.
MARTIN: Oh. Just getting – my thoughts out. I used to just bring a notepad, but they got wi-fi in here now. Bad sign, probably.

Panel 3: Bird’s eye p.o.v. of Martin and Kayla.
KAYLA: Yeah, The Walnut Room’s coming up in the world. You, me and those 3 dudes up front are really shaking things up.
MARTIN: Pubs are better around 3 or 4 p.m.. Dead enough to not be annoying.
KAYLA: I.. get that. I’m just coming from Wilma’s myself. You got Tuesdays off too?
MARTIN: I’ve got most days off. I haven’t heard of Wilma’s.
KAYLA: So Martin, what do you do in Wilmington, with most days off?
MARTIN: No, I work at a supply store down in Center, just part-time, since after I got lost in art school hell.
KAYLA: Hell?
MARTIN: Long story. Stupid story.

Panel 4: Is a split panel, bisected down the middle, full face shots of them both. Fairly close. They’re both speaking.
KAYLA: Another time, then. Hmm.. Supply store..
MARTIN: Bulk art supplies. What’re you, sizing me up? What do you do?
KAYLA: Ahh, Goodwill.. Gets me nice vintage everything though. You’re skinny, man! How do you do it!

PAGE SEVEN (5 panels)

Panel 1: We see a side shot of Martin and Kayla sitting at the table. Any perspective you like. From outside? But we can tell that Kayla looks happy, Martin looks concerned.
MARTIN: Hey, beer, rice and’ beans make ME.. But I can afford dinner and a movie…
KAYLA: Oh, you don’t gotta worry about me, youngblood- I’m gay. Just friendly.
KAYLA: “Oh?” Hah!
MARTIN: Huh. I’m getting another. I’m movin’ to whiskey. Shit! You want?
KAYLA: Uh, sure. I’m sure these gents got my back if you’re..
MARTIN: I’m not!

Panel 2: Shot of this bar from outside, night now, however you want to run with it. It’s sunset. Just from above the bar, or as a shot from high above this neighborhood with the night sky. (The general neighborhood I envision is nice in sections, but with industrial structures, high barbed wire-topped security fences and vacant lots, grey buildings no more than 8 stories tall for the most part.)

Panel 3: We see Kayla and Martin from the bartender’s perspective, or even behind the bartender, so we see the back of his or her head, and the patrons’ faces, more now, some filling in the back tables, various drinks and stuff on the bar. Kayla and Martin are at the same table. Martin is talking with his hands, wide gesturing.
KAYLA: Aaaha-ha! That’s it! That and the fact that City Council’s running things like it’s still 1989..
MARTIN: Well, it’s a Trump age. Business first, and people are surprised somehow? I don’t think so. People aren’t challenged by the system, they’re bored by it.
KAYLA: Absolutely bored. It’s like reality TV school, but if you don’t do good in this one, you don’t stay back, you die.
MARTIN: Just slow.
KAYLA: -sigh- Yeah..

Panel 4: Kayla and Martin, seated at pub table.
KAYLA: So, Martin, why don’t you read me a little of what you write?
MARTIN: Ah no. No thanks. It’s too weird. Personal..
KAYLA: Try me. Martin, you seem like a pretty interesting guy. I’m glad you waved. I want to hear your perspective on things.
MARTIN: It’s not my perspective, it’s what I’ve been… Aw. you know what? Fuck it. You won’t believe me anyway.
KAYLA: Wha-?

Panel 5: We see Martin reading from the word doc he’s been working on.
MARTIN (reading): This was my fifth errand. I know I’m supposed to help the people that Daise tells me to, but this was the first time I felt like my life was in danger, too.. I’m angry. I still don’t know why I’m doing any of this.

PAGE EIGHT (4 Panels)

Panel 1: A shot of Martin’s computer screen. Perhaps the whole panel could simply be the screen, with the text typed out upon it?
MARTIN (or text): Before, each time I had popped up in someone’s dreamworld or whatever, the work was with the land itself. Planting, tending, ordering. I could almost understand this. It was noninvasive, peaceful. The landscapes were obviously not of this Earth but I felt like it was more gardening than interacting with anyone, saving anybody. I never saw a soul, except for right at the start, as Daise sent me inside these different people. But this time, when I finally escaped, when I knew I was alive, I headed for any body of water I could find. I was so dry. And this random swimming pool was the portal that got me back.
KAYLA (from off-panel): Uh, portal?
MARTIN: Hey, I’m reading here.

Panel 2: Change of scene into what Martin is describing. (This is all basically a flashback so this part could be blurry around the edges, or rounded corners on the panels- something to differentiate it in time.) We see a woman, Sherrie, in a cluttered, medium sized bedroom, perspective from the ceiling looking down. It is dim and she is sitting awkwardly on the floor in a shaft of sunset light coming from the window, shade’s up about 1/2 way. Crumpled, faded clothes lie disheveled on her, old jeans and a faded flannel shirt, sleeves rolled up. She is cutting her wrists with an exacto knife. Several tall cans of beer lie around her, there’s some beer spilled on the floor. A bottle of pills lies on its side, open, near her. There are a few white pills dissolving in the beer on the floor as well. She’s in tears.
MARTIN (via CAPTION): I had seen the woman for a split second from above and then I was in the ‘Spectrum.’ This time it was a dry river bed in a desert, dark purple sand everywhere. It felt like twilight, but who knows?
MARTIN via CAPTION: There was no vegetation to speak of. The sky was red and the clouds were almost green. It looked amazing but felt depressing. Thick spikes of rock jutted out of the ground in clumps.
MARTIN via CAPTION: The river was moving, but it was all sand.

Panel 3: This panel is described in the above caption text. Martin himself is kneeling by the moving sand river, one hand on the earth. He is dressed in the same all black clothes that he had on in the swimming pool.
MARTIN via CAPTION: I knelt down near this river of sand, put my palm on the ground, and listened to the touch of the land, figuring this thread out, feeling this person’s emotions. I seem to be able to pull the problem out through my hands, almost as if I’m thinking with my fingertips.
MARTIN via CAPTION: I somehow was feeling this land as her actual psyche, manifesting in these shapes that surrounded me. This was all being created from the pulse of her internal order. Whatever was making her suicidal, I didn’t know, but that’s where she was at.
MARTIN via CAPTION: But I knew enough in that moment. I knew I could do something here.

Panel 4: Large half worm/half insect-like creatures pull themselves out of the sand river, 4 or 5, each as large as a cow. Make them as scary as possible. We see Martin in the foreground. Stone stalagmites rise out of the foothills beyond the river, sky is visible, post-sunset.
MARTIN via CAPTION: But I was not ready for how it would show. Whatever she was going through on that bedroom floor was some deep, ugly shit.
MARTIN via CAPTION: This was not yanking weeds. The things that pulled themselves out of the earth emanated a feeling of implacable threat. Watching them move was like watching bones break.
MARTIN via CAPTION: This was the form her trauma was taking; what was about to kill her by her own hand. I still don’t understand how could this be from her own mind? Is this shit what’s going on inside all of us?

PAGE NINE (5 Panels)

Panel 1: Martin is starting to run, screaming. He is still near the edge of the river. Monsters right on him, sand sloshing everywhere.
MARTIN via CAPTION: I had real knowledge I could die right here, all of a sudden, even in this other world. I heard their teeth scrape together and the wheezing noises as they ran, swerving out of the riverbed straight at me. I remember screaming.

Panel 2: We see Martin half covered in sand moving down this ‘river’ while several giant worm-insects barrel downstream, just yards away.
MARTIN via CAPTION: But my legs became stuck in the current as sand sloshed over the banks, pulling me into the river, my mouth full of dirt.

Panel 3: P.O.V. from behind the creatures heads, looking toward Martin flailing in the sand current.
MARTIN via CAPTION: It was like drowning in quicksand at 30 miles an hour. I could hear a deep humming, like in videos I’ve seen of tornadoes.
MARTIN via CAPTION: Shock can paralyze. I came out of that pretty quick when I saw the drop-off up ahead.

Panel 4: We see from behind the wormcreatures and Martin flailing in the sand current, looking down the length of the wildly moving sand-river from above and we see where it drops away. Martin is just in frame, flailing in the sandflow. There are two large boulders in the sand-river near the drop off positioned about a quarter of the way across, on either side. Sand roars off the cliff on both sides of the boulders and straight out the middle (this positioning is important).
MARTIN via CAPTION: I was completely caught in the sandflow. I stretched out, spread-eagle, trying to grab for one of the rocks that jutted out from the moving sand. And I did something I hadn’t done for a long time.
MARTIN via CAPTION: I envisioned a circle of energy around me. I had learned to do this in some Zen books I read in high school, as a way of calming down when stressed or angry. But what I was thinking of in that moment was the movie Explorers. Why, I have no idea.

Panel 5: We see a close-up of Martin. His face is half in and half out of the sand. We see one arm outstretched, with a visible energy pushing out from his palm.
MARTIN via CAPTION: I thought I was dead. But out of that desperate muscle memory came the real thing this time.
MARTIN via CAPTION: Energy poured from my palms and radiated out of my body, forming an orb around me. It was nearly transparent but felt very strong, very solid. (No sand inside the sphere- it pushes out from his skin actually at all points.)
MARTIN via CAPTION: I slammed to a stop, the transparent sphere wedged between two boulders at the edge of the dropoff, me inside, losing my mind.

PAGE TEN (1 Panel)

Full Page Splash. We see Martin as if we were in the air behind him, as if we are hovering over the drop-off. Sand is roaring off the sides and falling away, down. The worm-bugs are piled against and atop the mostly transparent sphere, inches from Martin’s face. The orb is stuck between the two boulders, holding Martin in place and from falling over the edge of the ‘sand’fall. The creatures are slamming their heads against the sphere, gnashing at it with their teeth and faces. We see desertscape and sky behind.
MARTIN via CAPTION: The creatures struck the near-invisible walls of the orb. I could feel the rocks start to shift and move from their pounding.
MARTIN via CAPTION: In a moment of terror-logic, I dropped the bubble and allowed myself to be swept off the edge.

PAGE ELEVEN (3 Panels)

Panel 1 (long, perpendicular and skinny): We see the full drop of the sandfall. Martin has again actuated the orb and is floating at a midpoint inside the falling sandfall. Sand and creatures slam, bounce and pour off its sides, plummeting to the land below, which looks a bit brighter. We see vegetation in spots, no stalagmites.
MARTIN via CAPTION: I re-imagined the circle in the next second and it formed again, like I felt it would. I was instantly cocooned inside, and floating safely, high above the ground.
MARTIN via CAPTION: The worm-monsters were falling around me, hitting the orb and it was just taking it.

Panel 2: We see a closeup of Martin inside the sphere, half of his face and body covered from view by the falling sand outside. We can see the circular shape of the orb contoured by the sand flow. He is smiling, flushed with adrenaline, wide-eyed.
MARTIN via CAPTION: That did it. Something had changed in that woman. I felt it like I was one of her thoughts.

Panel 3: Same panel exactly, but we see just the sand waterfall flow. Martin and the sphere have both disappeared.

PAGE TWELVE (2 Panels)

Panel 1: We see Kayla and Martin still seated at the pub table- we’re more facing Martin. He’s got the little laptop open in front of him, his eyes are low.
KAYLA: Wow. That sounds almost real.
MARTIN: Yeah.. It is. Actually. All this shit happened yesterday.

Panel 2: We see Kayla and Martin- we’re more facing Kayla. She’s looking way suspicious.
KAYLA: OK, soo.. This the part where you’re..
BARKEEP: (from off-panel, or on, if the bar is in the background. This word balloon eclipses the rest of Kayla’s.): Last call!


Panel 1: Martin is in Wimington, Delaware, atop a roof overlooking the Delaware River. There are city buildings off to both sides, and some tugboats and a barge on the water, some random boats. Seagulls, sunshine and giant industrial containers clutter the water’s edge in the distance. He is standing on a roof, we see see him from behind, or behind and to the side. He has his hand on an old outdated TV antenna, sort of leaning, swinging about, Singing In The Rain style.. He has a small headset on, with a mic close to his mouth.
FLOATING CAPTION: Wilmington, Delaware. Wednesday..
DAISE (speaking, but the word balloon is coming from Martin’s earpiece.) You’re doing perfectly. Your defense mechanism kicked in right as it needed to, saving you.
MARTIN: My def– that bubble? Daise, how are those animals even possible? What the fuck were they?
DAISE via earpiece: I cannot see the Spectrums of individuals in this timeframe. What did you see?
MARTIN: I dunno. Monsters, shit! Desert. Dry. It was a landscape, like usual. But there were never any predators before. Why now?

Panel 2: We see Daise in a circular room, light purple, or with swirling pastel colors. She has a headset on. Through a circular, open doorway we get a glimpse of alien-future-humans walking about, interacting with each other. They all look and are colored more or less like her, wearing mostly dark, constrictive clothing. Daise is at work. There are multi colored broccoli-looking flowers everywhere. Vines of it grow up the curved walls.
DAISE: Because you are getting better at this work. We believe those creatures are an individual’s manifestations of trauma. A virus of fear and trauma run amok. They have been there all along, in the several people you’ve interfaced with, but you could not yet see them. There appear to be different trauma aspects in every person we interphase with. They seem as though alive.

Panel 3: Close-up of Daise’s face,calm. A swirl of pastel colors behind her.
MARTIN via earpiece: Uh, yeahtheydo..
DAISE: I will be there to speak more with you about your next errand in a few hours time. Will you be at your home?
MARTIN via earpiece: I will now. Yo, I’ve got to get back to work, I’m on break.
DAISE: The sphere will help you, Martin. Soon, if you like, the sphere will be able to manifest outside of the Spectrum, in your timeframe.
DAISE: Just be careful. Do not show this to people. It is yours, it was born from your efforts. It can be an ally as much as a mirror to your weakness.

Panel 4: Martin stands hunched near the antennae, looking up, sort of serious. face, earpiece in, city skyline behind him, and the sun.
MARTIN: What do you mean?
Martin: Daise..? Daise? … Fuuuck.


Panel 1: Nighttime. Martin’s bubble is self-attached to the edge of a rocky mountain face. Martin is inside it, writing in his mini laptop, back against cliff rocks, butt on the bubble floor. We see him from a distance of maybe 20 feet away from us. Maybe we can see the top of the mountain above him. We see starry sky, clouds, beautiful view of forest all around and in the distance, lolling foothills. A sleeping bag and pack are inside the bubble with Martin, making things sort of comfy.
FLOATING CAPTION: Woodstock, Maine. Saturday.
MARTIN (thought): Need to bring a pillow next time and this would be almost perfect.
MARTIN (thought): This is the payoff, right? I can do this shit, but I have to keep diving into peoples’ heads and fuck around in their monster worlds.
MARTIN (thought): Daise said this sphere will protect me from the threats I encounter in the Spectrum. It also seems to keep me safe from the elements, temperature. I don’t even know how I can breathe in here! I.. fucking.. Can’t believe I hurt her..


Panel 1: The bubble detaches from the cliff face, Martin inside, sitting cross-legged, eyes wide. We see Martin in mid air, in a bubble that is heading for the forest floor below.
MARTIN (thought): I wish Mum was alive.
MARTIN (thought): What the hell am I doing in here? Place is beautiful, though. Daise said I needed to come here this weekend, just not where. So. Maine.

Panel 2: Martin is standing on the ground, pulling his shirt off, as the bubble is in mid-’pop’ around him. It can pop like a regular bubble does, shooting bits of ‘suds’ off and around the area that quickly disappear, or you can come up with a different effect, as long as it remains consistent. His belongings lie at his feet on the ground.
MARTIN: Buu-r-rpp!
MARTIN (thought): Errands. Am I so bored in life that I need to take orders from more people, even an alien, future human, whatever the hell? People are my ‘assignments’ now? I don’t know.. I don’t know anything.
MARTIN (thought): Who else is doing this? Does Daise know how much I don’t give a fuck anymore? Is she exploiting that?

Panel 3: Martin is walking into the water, naked, at about waist deep. Moonlight shimmers on the mostly calm, deep stream.
MARTIN: Holy shit!
MARTIN (thought): Am I just a functional drunk at this point?
MARTIN (thought): I thought our whole first meeting was a blackout hallucination. Stresses me out… And I’m drinking more than ever. And now I drink and bubble. They gotta ticket for that shit?
MARTIN (thought): What if I formed it right here?


Panel 1: Martin manifests the bubble. It pushes out from the contour of his hands and body, almost instantly. We see Martin’s head and shoulders, the top of the bubble, the rest is underwater.
MARTIN (thought): Huh. This is safe? It keeps the water out, but doesn’t dry me off. This thing is real! I am fucking going insane.
MARTIN: Can I just go for a ride on the bottom of the stream?

Panel 2: Shot of bubble underwater, Martin inside, hovering a few inches above the river bottom, shaft of moonlight illuminating underwater ferns, rocks, lilies, a few small schools of minnow-like fish..
MARTIN: ‘Course I can.
MARTIN: No way I’m giving this up. She’s got me.
Panel 3: Shot of inside the bubble. Underwater plants in the foreground, Martin inside, back to us, standing looking up at the moon through smears of water surface tension. We get a sense from his stance that he is amazed.
MARTIN: I can do this.

Panel 4: Shot of the orb shooting straight up out of the water and above, like 10-20 feet, water falling and splashing back down to the stream. Martin is heading into the night sky. The bubble is an orb that is lined up directly with the moon above in this panel. We see stars and patches of clouds around.


Panel 1: Martin asleep on his futon (in couch position) in his living room. Passed out uncomfortably with a ratty pillow and a thin blanket, bathed in late night flickering television light in an otherwise dark room, bottle of alcohol on the stand next to the futon with a lamp and appropriate low key clutter everywhere: bits of paper, bottles, crumpled clothes.
FLOATING CAPTION: Wilmington, two days prior.

Panel 2: Daise appears in a dull flash of light, a subtle rippling blink of a hole in the air, hovering 2 feet off the floor, facing Martin. She is in her typical attire, barefoot with her same pink dress on, down to her ankles. We see Martin as well, awake suddenly but still lying on the futon, staring in wide-eyed surprise at the glowing alien looking creature.
DAISE: Martin!
MARTIN: Hey! You never showed!


Panel 1: Head on shot of Daise from about waist up. Behind her is Martin’s television (showing some random commercial with a telephone number on the bottom of the screen). Framing her is the window to the street. Maybe we see dim orange-lit warehouse-ish buildings, maybe the moon.
Daise: What time is it here?
Martin (off panel): Uhn. I dunno, late. Early. Like 3.

Panel 2: Shot of Martin with a bit of Daise’s shoulder in the foreground. Martin has his cell phone in hand now, but he is looking at Daise angrily.
DAISE: I am sorry. I try for correct placement but the Overlay is a fickle field.
DAISE: Your next assignment is–
MARTIN: No! Not even close! We need to talk about this shit! Like, like.. What happens to me when I’m in the spectrum? Can I die there?
DAISE: Yes. That can happen.
MARTIN (whispers, almost to himself): That can happen..


Panel 1: Shot of the liquor bottle on the table, blurred in the foreground, off to one side. We see Martin’s profile on the other side and Daise in the middle. Both characters are in focus.
MARTIN: Why didn’t you tell me?!?

DAISE: Martin, this affects all of life in the future, the balance of eco and social harmony on this planet. You need to do this. You are one of the few aligned to. Now may I tell you–
MARTIN: What? No! Get out of my room with this shit! Now!!
DAISE: Martin..

Panel 2: We see Martin from head-on, still sitting on the futon, hurling the half-full bottle of booze straight at ‘us.’ It’s leaving his hand. He is enraged.

Panel 3: Shot of Daise, covered in alcohol, bleeding a transparent orange blood from her forehead. Booze is all over her floral dress, the bottle smashed on the floor. She is still floating, eyes in forlorn slants, looking down.
MARTIN: Oh my god. Daise, shit.. I didn’t– I didn’t even..

Panel 4: We see Daise blinking out, disappearing. We can see her fading out, or just the backwash of rippling, distorted reality, body-shaped, where she just was. We can see Martin’s shoulder/head in the foreground, blurred a bit.

PAGE TWENTY (3 Panels)

Panel 1: Martin sits cross-legged on a meadow slope just a few feet from the treeline, dark forest of mostly pine and some leaf trees behind him. Daise is cross-legged beside him, same dress, clean now. She is hovering a few inches from the grass. We see them from the side and a bit from behind, as they are looking down at a small shack on the other side of the sloped meadow, a good distance below them. A small dirt yard is penned with chickens pecking the ground. Flowers are everywhere.
CAPTION: Woodstock, Maine. Sunday.
MARTIN: I’m not going to die for you. I refuse. I go day to day just thinking I’m dreaming- but I go to work, nothing’s changed, no one’s changed. I mean, what happened to that woman on the floor? Is she alive?

Panel 2: Birds eye view of the two of them and this land, with the meadow and shack. Gentle sloping foothills rise lazily in every direction. We’re in mid-summer.
DAISE: Yes. She stopped her suicide.. Called rescue. You saved her, Martin. You will actually see her again shortly.
MARTIN: What? What’s the event or future we’re trying to avoid? Why save her?
DAISE: I cannot tell you all of this. We.. Do not even know if this will work. But we know at this juncture our society needs to move away from symbols and into a more true nature.
MARTIN: What are you talking about?
DAISE: The effect of symbols and language. Essentially, you let a manmade economy control your entire cultural narrative. And it controls it into dust. It took us centuries to recover from the misplaced trust this society had in its economy.

Panel 3: Straight ahead shot of the two of them, forest behind, talking. Flowers still everywhere, and birds.
DAISE: Life plays out like a dream and people do not know what consciousness is. Feelings are what we are based on. Not knowledge. Not currency.


Panel 1: Scene of Earth throughout time, represented loosely as a series of overlays, sorta out of skew with one another, staggered series of different sizes. This can be drawn very creatively and loosely.
DAISE via Caption: Where I am, we are slolwy making contact with.. Something. It is an entity. And it is contacting some of us, moving us into these groups that attempt to enter the Spectrum and shift.. vibrations.
DAISE: Wits play a part in this endeavor. We are beginning to see Earth as a part of this entity, but it seems larger than that.

Panel 2: The silhouettes of Daise and Martin from Page 8 Panel 3, overlaid on the image of many Earths from the previous panel.
MARTIN: Wits. But.. My doing this, helps change things?
DAISE: Yes. You are able to bring resonance to this level of the Overlay. You work on creating standing wave patterns.
MARTIN: No idea what you’re talking about. Can’t you just read minds?

Panel 3: A shot from the roof of said shack up to Daise and Martin talking in the distance, just silhouettes against a thick, dark, mostly pine forest.
MARTIN: What do You do in the future?
DAISE: My part is at a sustenance center.
MARTIN: What’s that?
DAISE: It is.. a supply store.
MARTIN- Wut? Buh-HaH! Like me?
DAISE: … It is not a store in this era’s meaning, but a point of free services and care, filling the cracks of the general subsistence economy. In my time, we do not have jobs so much as we take part.

Panel 4: A simple shot of the land they are in from high above. The meadow, pine forest, surrounding mountains. The characters can be tiny specks in the meadow, or not visible at all.
DAISE: My job is at a garden center. Do you.. Have broccoli here?
MARTIN: Uh, yeah.
DAISE: We love broccoli. I’m in charge of broccoli for my locale.
MARTIN: That’s great Daise. You said language holds us back. How?


Panel 1: A shot of Daise’s alien looking hands, from her vision-perspective, braiding two long stems of grass.
DAISE via Caption: We talk.. Just not.. A lot. It’s actually very limiting, language. What we do is communicate. Actions are highly spiritual all the time, instinctively. They are for you too, but you do not know how to organize them.
MARTIN: Thanks. How do you know that?
DAISE: We have the benefit of looking back through your history, to see the brain developing in our species to the point where we returned to balance with the Earth. We feel. Intuit. It is.. Slow work. It involves repetition.
MARTIN: So this entity that you think is actually in charge? Chose you.
DAISE: I was contacted. Yes.

Panel 2: Shot of Martin’s hands lying in his lap, from his vision-perspective, grasses surround his cross-legged bent knees.
MARTIN: Why are you always floating? We can levitate in the future?
DAISE: Yes. If we choose.
DAISE: It’s a part of learning the overlay. We do not need to. But here, I worry about germs. The air is horrible here, even outside. So many compounds running rampant. I don’t see how you can stand it for long periods of time.
MARTIN: So, what? Earth gets better? Cleaner?

Panel 3: Shot of the cabin from up close. However you drew it before, draw it now. Just closer.
DAISE via Caption: Yes. But stuff like spacetime is more malleable than is known herey. At this point we use it to change things.
MARTIN: It sounds dangerous..
DAISE: Martin. It is. I am sorry I did not reveal this to you. We are.. Desperate. We are learning that.. Storing Information never revealed true order. In my time things have become very simple, organized. Laid bare. And we are able to see so much more. So many more actual visible layers of existence exist.. We use energy to move lines of power, ley lines. We are beginning to map our future more spontaneously now.

MARTIN: If this is all true.. If i’m not crazy, if you’re not playing me, then this just- people have no idea how not to fuck up the world. That’s obvious to me. Nothing’s changing, for real.
MARTIN: This.. This could be the realest shit anyone’s done, ever,. right? Would I be the first one?
DAISE: No. There have been a few other teams through future’s history.
MARTIN: Teams? What, am I on a team?
DAISE: You will be.

Panel 4: We are seeing through a window of the shack, to a person. Martin’s next errand. A caucasian male, 60’s, longish grey beard, white t-shirt with suspenders and tan work pants on, boots, holding his head, sitting at a table in a log cabin room, simple stove, shelf, cot, chair.. Clutter is everywhere.