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September 2011 Message from Dan

Dear Readers, Friends, and Other Visitors:

A change of pace for this autumn’s Message from Mr. S. Enough seriousitiousness is my motto these days. We’ve discussed complicated and difficult topics here from time to time. Time for a break. Time for me to give you – my readers (?) – a gift.

Well, I hope it’s a gift.

       NEWS
                    Message from Dan

             
             
Past Messages

In the next some weeks (months?) I’ll be posting three installments, about 20 ms pages each, of a sort of . . . well . . . a kind of . . . well . . . novella thing. What it actually is and was will require a brief background story.

Some time ago (but not so long ago as the crow flies) I was contacted by a film director friend of mine.  We’d worked together – on pitches and actual script outlines as well as hopes for movies that didn’t get to the screen. But this unnamed director had finally made his bones and was quickly gaining clout out there in that strange country called Hollywood.

So he called me late one Thursday afternoon with a slightly unusual proposal. It seems that this production company run by One Of The Really Biggest Producers In the Known Universe had purchased the rights to a very short 1950’s science-fiction story and also to the script of the hour-long Twilight Zone episode that had been produced and aired in the 1960’s. (After TZ had gone from it’s perfect-for-the-material half-hour format to its awkward and rarely workable full hour format. I mean, how many people – even non-SF types – can sit through an hour of low-budget skiffy and get any pleasure out of final lines such as – “And the name of that strange planet was . . . Earth!!!”)

This director had been tapped to do the film, but with deadlines closing in – they had no workable script. Or even a workable treatment.

Anyway, my director acquaintance’s first question was “Do you like Richard Matheson’s stuff?” I answered honestly – “I worship the ground he walks on.”

Then he asked me if I had read the story whose title he gave me. No. Had I seen the TZ episode based on it . . . and he gave me a quick synopsis of the plot and said, “And Jack Klugman starred in it.”

Unfortunately, I did have a vague memory of seeing an episode like that in the early ‘60’s. I remembered Klugman being in it. I remembered being embarrassed that a great actor like Jack Klugman had been in it. If my memory served, that episode of Matheson’s idea had been a boring bomb. And clichéd to boot. And did I mention boring? Even giants and superheroes stumble from time to time – especially when someone is adapting their work to TV or movies.

Anyway, my director friend said something to the effect – “We have to decide fast – really fast --on whether to greenlight this feature film project and the screenplay and rewrite and the other two rewrites of the screenplay we got from [names deleted] stink up the place. They’re totally unsalvageable. Can’t use a fucking line from ‘em. So I told One of the Biggest Producers In the Known Universe some of your bone fides – your SF books that have won awards, your WGA membership, the screenplay you did for the German Twin Film group, the little bit of TV writing you’ve done, some of the treatments you were paid to do, blah, blah, blah – and I also told him you write fast. I showed him some of those behemoth novels you write – with all the research and everything – and told him that you usually only have about ten months in which to write those things.”

What could I say? I quoted my role model, Polonius – “. . . 'tis true, 'tis true 'tis pity,And pity 'tis 'tis true.”

Anyway, said my director acquaintance, some of the people working for One of the Biggest Producers In the Known Universe were going to FedEX me the original Matheson story – the scripts weren’t looking at, he said, and would only pollute my mind, although he’d send the treatments – and also the teleplay for the Twilight Zone episode and a DVD of the actual episode.

“Great,” I said. (I wanted a few days off from working on the huge novel I was wrestling with.)

“Look,” said my director pal, “I know this is probably impossible, but can you get a five-to-twelve page treatment for a whole new idea of the script for this Matheson idea within a month? Three weeks would be better. Two weeks would be fan-fucking-tastic.”

“I’ll have it to you by next Tuesday,” I said. I could have said Monday without bragging, but FedEx doesn’t work on the weekends and I figured I needed part of the next day, Friday, to reading the Matheson short story and the treatments and original teleplay and re-watching the ‘60’s Twilight Zone episode. Then I’d write the treatment over the weekend and FedEx it Monday for Tuesday morning delivery.

I mean --- 5 to 12 pages? C’mon. I have to write that many pages of my novel every morning before breakfast.

So the stuff came. And I read it and I watched it and I . . . well, despaired may be too hard a word. My God it was all crap. This was one of my absolute heroes – Richard Matheson!! – but the sci-fi story he’d published in the ‘50’s was a desperately simple, silly little thing and the adapted Twilight Zone episode was actively painful to read or watch. All the scripts and rewrites the One of the Biggest Producers In the Known Universe and my director and the team had received were almost literal adaptations of the earlier crap—simply stretching things out, and the basic story hadn’t even been solid enough to stretch to the TZ one-hour format years ago.

You’ll read some of the details, without names, in the “sort-of-novella-thingee” that follows and which is your autumn gift. (I hope.)

So in Saturday I wrote and revised and sharpened my nine-page treatment. That’s what they’d agreed to pay me WGA rates for. If One of the Biggest Producers In the Known Universe liked the treatment enough – followed by a vetting conversation over the phone – I’d get the contract to do the original screenplay and one re-write. (Nice money there, even though the final version, redone by “real screenwriters”, would almost certainly look nothing like mine. But nice money there for a few weeks’ work.)

So the treatment was done by Saturday evening and I couldn’t FedEx it until Monday, so what to do? Go back to my novel, obviously . . .  but there was something about the movie idea that kept ticking and turning over in my mind. My short treatment couldn’t give the flavor of what I really wanted to do with this SF movie.

So on Sunday I wrote, rewrote, and revised a 60-page “extra” – far too detailed for a treatment, too sparse for a publishable novella, not in screenplay form – just for the eyes of my director friend. I wanted him to see some of the real possibilities of the movie as I would totally change it. (With credit still going to Richard Matheson, of course, for the original idea which, alas, wasn’t all that original . . . even for mid-early 1950’s science-fiction magazine content.)

Anyway, I sent the two things off on Monday: the 9-page treatment for which I’d be paid Guild rates and the 60-page megillah just for the edification and amusement of my director acquaintance. The studio belonging to One of the Biggest Producers In the Known Universe was legally theirs, but my 60-page megillah, done for my own amusement, wasn’t owned by the studio. (I couldn’t peddle it myself since it was still based –however loosely now – on a premise from an ancient Matheson story and Twilight Zone episode, but at least I wanted to show the director some of the directions the new idea could go.)

The director was wildly enthused. He ended up sharing the megillah with some of One of the Biggest Producers In the Known Universe’s little people, who sent it up the chain to some of One of the Biggest Producers In the Known Universe’s real people (co-producers, executive producers, and creative consultants all) and then amazing word came that One of the Biggest Producers In the Known Universe had read both documents – the 9-page treatment he owned and the 60-page thing that just existed out there in the aether. Of course, One of the Biggest Producers In the Known Universe admitted later on the phone that he hadn’t read the full novella-length thing personally – but he was fully briefed on it.

So they set up a conference call for Friday. On my side there would be me in my downstairs office. On the Los Angeles side of the conference hookup there would my director acquaintance alone in his home or office somewhere in one of the canyons and, at their studio headquarters, One of the Biggest Producers In the Known Universe (himself!) (very unusual for such calls I was told by one of his people) and seven or eight (I never quite got the count right) of the Producer’s People around what had to be a big honking table, all talking to me on speakerphone.

So that was one on my side and either nine or ten, counting my director, on the other side. Was I nervous? Not really. If the conversation worked out, I’d probably get first draft and one rewrite guarantee for the screenplay – I’d love to do that with that particular director who knew my writing well – and under even WGA minimum rates, that’s a decent year’s income. On the other hand, I had a novel I had to write, so if things didn’t click – so it goes. I’d get back to my real job.

I’d love to describe the 60-minute phone conference in detail, but there’s probably be a libel suit in their somewhere. Suffice it to say that I spoke when asked to and the director added enthusiastic comments – at least in the first third of the conversation – and the One of the Biggest Producers In the Known Universe did all of the talking from the crowded table other than an occasional comment from one of his people such as “That’s really important, Boss” (they didn’t say ‘Boss’, they used his initials) or “I was going to ask the same question” or, my favorite, “I had some issues about that as well, (insert Producer’s initials).

It was fun (on my side) and for a while it looked like it might really work – at least a crack at writing the first screenplay and a rewrite, at least. The director was pretty excited. But then, late in the conversation, the One of the Biggest Producers In the Known Universe began asking the “tough questions”.

“Dan, can you change your ideas enough to get them back much closer to the original Twilight Zone episode – you know, all them dying right where they found their own dead bodies through the time warp thing, stuff like that?”

“I could,” I said. “But every step I’d take that old direction away from the new ideas and concept would be a step toward a worse and more boring tale. I wouldn’t want to be the one to do that. Let the rewrite guy rewriting my rewrite do it so I never have to see it.”

Silence. Then from the Big Voice . . .

“Dan, there are two deal breakers here, even if we went – more or less – in your new direction. The first is that you have to make everything a hell of a lot simpler – dialogue, the science stuff, even the plot. Our goal, you understand, is to put butts in the theater seats and to be a success most of those butts are teenagers and pre-teens. That’s why we won’t have any “Fucks” or bare breasts in the movie. We need those pre-teen butts.”

After thinking a few seconds, I said, “But what if this were a smart SF movie – say along the lines of Kubrick’s 2001:A Space Odyssey  . . . that put a lot of adult butts in the seats. Grownups. And a lot of them thought about it and talked about it and many came back for a second or third viewing while it was still in the theaters. Wouldn’t it be nice to get more grownups – and some IQ’s with three whole digits – back to the theaters for an SF movie?”

Grumbles and consternation audible all along the nine-person (or maybe ten-person) conference table. My director, miles away from everyone, sighed.

One of the Biggest Producers In the Known Universe then gave the second condition for me being involved in this project. “All the religious stuff you have in the treatment and your big fat thing have to go, Dan. All that Guh-nosikism or whatever. No religion. It drives people away in droves – makes a movie controversial.”

“But this is a real religion, an ancient one with no adherents alive now, that’s made a big comeback in the future,” I said softly. “I’m not exactly attacking Baptists or Muslims. Besides, I like the religious angle.”

“No successful sci-fi movie is going to have religion in it,” said One of the Biggest Producers In the Known Universe. There were eight (or maybe nine) sounds of courageous agreement from the other suits at the table and another audible sigh from the director in his Coldwater Canyon treehouse or wherever he lived.

“May the Force be with you,” I said to all of them.

“WHAT??” shouted One of the Biggest Producers In the Known Universe. At least he didn’t shout “What the FUCK?” which is what I still heard.

“Look, Dan,” the Producer said in a more reasonable voice, “there are one or two – maybe a few scenes or ideas we could use from your treatment and that novel you sent Scott. Agree to get rid of that religious crap and we’ll talk again about the rest of everything. If we’re going to make thing, we have to decide by next week.”

I sat for a few seconds and thought about WGA minimum for the screenplay and one authorized rewrite. Even if they tossed both straight in the garbage, the guaranteed payout would be *00,000 – and then I could get back to my novel and get it done by its deadline. Screenplays – as hard as they are to write and as much as I love and admire the rare good ones – are, after all, mostly white space on the page.

“I’m sorry,” I said. “It just wouldn’t be any fun tossing out all the neo-Gnostic stuff and trying to pretend that the original storyline could work. But thank you very much for the opportunity to write the treatment and share my ideas.”

I was paid for the 9-page treatment. I always imagine it having precisely the same fate at the ROSEBUD sled at the end of Welles’s “Citizen Cane.” Afterward, I sort of wish I’d ended our friendly conference call with a rasped out – “Rosebud!”

Anyway, One of the Biggest Producers In the Known Universe – who used to be partners, for a while, with – for a shorter while – THE Biggest Producer in the Known Universe – who was a studio genius and also, reputedly, a former master at a dye, set, and blow dry.

So here’s my 60-page story thing, presented to you in three episodes. I warn you now that it doesn’t read all that smoothly. Not just because it was written on a cold Sunday afternoon, but because it’s a bastard blend of some treatment, bits of sort-of script dialogue, and a narrative out of nowhere recognizable. I enjoyed writing it that Sunday.

I hope you enjoy reading it, rough form as it is. If enough of you write into my Forum and say you don’t like it, I’ll just cancel Installments Two and Three (although that’s where it gets gooood.) Then I’ll write the MESSAGE FROM DAN that I’d researched and prepared for – “Why Hamlet Fails”. (Enough of you know about my Shakespeare obsession well enough to know that it won’t be an excessively simple essay.)

So enjoy TIMEQUAKE. (Or TIMEQUAKE WORLD, my original working title.) I don’t have strong feelings about which one is right – since the movie ain’t never gonna be made nowhere nohow. But you can write my On Writing Well Forum and give your preference if you like.

Oh . . . and do remember the most important thing about the following 60-ms-page novella thing you’ll be getting in three installments . . . THEY’RE ABSOLUTELY FREE. I have the copyright on the megillah, but the reading of same is my gift to you.

Sincerely,


2

TIMEQUAKE

(Installment One)

Long-Version Supplemental Material to 9-page TIMEQUAKE WORLD Treatment

by Dan Simmons

Exclusively For *****

Part I – Story History:

I’ve been asked to come up with alternative storyline for an existing feature film script by another writer that was based on an idea in the 1950’s short story “Ghost Ship” by the esteemed Richard Matheson and, more specifically, based on the 1963 Twilight Zone teleplay adapted from that story. The original and now-abandoned screenplay was very faithful to both the story and TV episode. It also didn’t work.

Matheson’s story relies on a single premise – due to some unexplained time-warp, space travelers from Earth landing on a new planet find their own crashed ship with their own dead bodies in it and, try as they may to avoid their fate, they soon succumb to it and crash and die exactly where they found the wreckage of their own ship. The idea is that predestination is real – the word is used in both scripts -- and “the future can’t be changed.”

A brilliant writer of fantasy and horror, Matheson never cared much for science fiction and this single, simple premise was barely adequate to support a short, short story in a third-tier sci-fi magazine in the mid-1950’s. It was not adequate to flesh out the hour-long Twilight Zone episode based on that story. Watching characters stumbling toward their inevitable and obvious demise, even though they might wiggle like worms on the hook of fate, simply didn’t support the hour TZ format and would not support a feature-film- length story. It’s the entertainment equivalent of sitting up all night with condemned men waiting to be hanged at dawn. Even with the wonderful Jack Klugman starring in the hour-long Twilight Zone  episode, the storyline and dialogue were tired, boring, and predictable. Even a half-hour version would have been too long for the premise.

Our “Timequake” (or “Timequake World” – either title works for me) variation on Matheson’s original premise will support a major SF motion picture (and sequels) for the following reasons –

  • The timequakes that launch our intrepid explorers forward days and weeks in time and then rubber-bands them back to their beginning point allow them to change their futures and fates . . . if they’re smart enough and courageous enough to do so. Although the forensic aspect is just one element of a larger compelling story, this “reverse CSI” – having to investigate and then avoid the details of your own death – is a new and riveting plot engine.
  • “Timequake” will be based on both cutting edge science – the new reality of quantum teleportation,  the “multiverse” theory of branching timelines, Heisenberg’s principle of uncertainty, etc. – and will also incorporate some of the most sophisticated examples of up-to-date literary and cinematic SF. The timequakes themselves are no longer random, unexplained phenomenon but the result of the Quantum-portal opening its connection across 400,000 light years and more than a million years of time in the space-time continuum. In a real sense, the explorers have created their problem.
  • The “Timequake-World” – this alien planet some 400,000 light years from Earth, so far away that the entire Milky Way Galaxy rises in its night sky – will be so provocative, so textured, and so compelling that it will add a deep new dimension to the timequake premise. It will also present a place to which both the surviving explorers and movie-goers will want to return.
  • The alien beings on this world, but specifically the Night Howlers that welcome the galaxy rising in their night sky with eerie hymn-howls of praise and who seem to have a connection to some real God, add powerful layers of mystery and motivation to the tale. They once had an advanced, spacefaring civilization, our explorers learn, but gave it all up and went back to the trees. We want to know why.
  • Our characters’ quest to get to the second Quantum-portal (for their escape back to Earth) across 5,000 kilometers of alien landscape provides a serious plot energy totally lacking in the original Matheson premise.
  • Finally, the eight characters themselves – not the too-common bunch of idiots in SF-horror tales who bicker, murder each other, and generally just end up as alien-fodder to be killed in a variety of disgusting ways – are going to be smart, resourceful, three-dimensional, and human enough that the viewer actually will give a damn about them and root for their survival.

Part II – Historical/Cultural Background:

Since our story takes place on a world 400,000 light years from Earth – and since we never get a glimpse through the Q-portal of our home planet of 2148 C.E. – most of the changes in culture and technology that have occurred in the next 138 years aren’t important to us, but since our characters are residents of that Earth of 2148 (except for Rae-Chen who was born and grew up on the Mars Colony), some future history and culture will be central to our plot.

We overhear in dialogue that the global population in 2148 is a little less than 1 billion people. This is disturbing since there are more than 6 billion people alive on Earth right now and we’re rushing toward 10 billion. Moreover, we soon understand this drastic decrease in population wasn’t due to careful population planning or ecological considerations – no, by the year 2148, almost all the shit that can hit the fan, culturally and historically speaking, has hit the fan: plagues (natural and manmade), pogroms, nuclear exchanges (small and large), civil disruption, global religious struggles, economic depressions, social chaos, and wars of varieties and intensities not even dreamt of in our old-fashioned early 21st Century nation-state psychology.

The primary relevant results for our characters are –

  1. The political officer, Nicolai Kosimov, who represents the GA – the Global Accord – not a supranational state or mere descendent of the weak United Nations, but a new type of planetary corporate organization seriously dedicated to keeping people from killing each other. It was the Global Accord that brought the world out of its more insane conflicts in the lifetime of a few of these characters and of all of their parents. That well-honed peacemaking function – and Political Officer Kosimov’s natural sense of humor and professional methods of inserting democracy even into this hierarchical exploration team with its charismatic leaders – will be very important in the story.
  1. The Gnostic Church. While originally a branch of early Christianity that was all but wiped out as heresy by mainline Christians no later than the 3rd Century A.D., the New Gnosticism has – like the Global Accord – arisen as a dominant religious movement largely because of the plagues, pestilence, pogroms, natural catastrophes, and crazy wars that filled most of the 21st Century and the first third of the 22nd.

The anvil of history has changed people’s psychological make-up – including that of our 8 characters.

Gnosticism has survived underground over the centuries and has always centered on the search for gnosis – profound self-knowledge – within ourselves. The Gnostic Church of 2148 C.E. continues that practice of seeking divinity (or at least profound insight) within, and thus has brought in secular and non-Christians from throughout the world who were weary of dogma and revelations that had led to the bloodletting of the 21st Century. But it also includes a tenet of ancient Gnosticism: i.e. that the world and universe were not created by God, exactly, but by a sort of demi-god graduate student who totally botched the job. The real God was so appalled by the shabbiness of Creation that He or She simply left . . . left Earth, left humankind to its own fate, and left the space-time continuum we call the universe. In a sense, the Gnostic God – whether real or metaphorical – takes the form of the ultimate Deadbeat Dad who’s left his family in the lurch.

The traumatic history of our characters and their parents and grandparents – the survivors of the horrors of the 21st and early 22nd Centuries – has left most of the remaining 900 million or so people on Earth with a great sense of being lost, of being betrayed by old traditions, being let down by old ideas of politics and faith,  being disappointed by old ways of thinking . . . of being abandoned.

Part of the Exploration Service’s goal with these Q-portal probes to worlds around nearby stars is an attempt to start over, to find a habitable enough world where some of humanity can escape a ravaged Earth . . . to quit putting all our eggs in one basket, so to speak.

Part of the Gnostics’ quest is to find that missing father and to regain a sense of belonging to something other than a malign and senseless universe.

While many of our characters aren’t Gnostics – or believers or any sort – all of them understand Father Finn’s powerful urge to find the “God” that the Night Howler residents of this strange new world seem to be able to summon at will. Father Finn’s insistence on finding a way to contact that God, even at the further risk of all their lives, becomes a major plot point and a source of much tension.

Part III – Scientific Background:

“Timequake” won’t be Cosmos TV-series heavy on science – science will mostly be in the background to character and action – but for a (perhaps) refreshing change, most of this SF film will stay within the confines of actual scientific possibility. Oddly enough, most of the scientific and physical laws that rule the universe in 2006 will still apply in 2148. These include such textural elements as –

  • the space probe’s engines making no sound in the vacuum of space where no sound could be heard
  • the fact that our explorers don’t arrive in a starship because there are no starships. Nothing can travel faster than light in 2148 any more than it can in 2006. The universe, it turns out, does have a maximum speed limit, and it is, as Einstein explained, 300,000 kilometers a second. (It’s not just a good idea, it’s the law.) Starships would take decades or even centuries to creep at sublight speeds to the few Sol-type stars nearest Earth; most of the stars in our own Milky Way galaxy would require voyages of thousands of years for a visit and would be one-way ventures. So no starships. No human interstellar travel by ships. The starship U.S.S. Enterprise is as much of a fantasy in 2148 as it was in 1968.
  • What our intrepid voyagers do have is quantum teleporation, a refinement of an actual experiment and technique achieved by scientists around the year 2000. This involves instantaneous exchanges of paired or “entangled” subatomic quantum particles – q-bits – over staggering distances. Albert Einstein called this “spooky action at a distance” and hated the idea, but it does work. Unlike the impossible matter transmitter-teleporters of Star Trek – which could never find or map all the molecules in a grape, much less in a human body and mind, much less store them in some data storage device (that would require more bytes of data than there are atoms in the entire universe, by a factor of thousands) – our Q-portal quantum teleportation simply connects q-bits from distant places instantaneously, creating what amounts to a quantum twin-paired rip in the actual fabric of space-time.

Even though the fastest spacecraft humans have ever devised -- the robotic Q-portal spacecraft probes-- take decades to get to (and to slow down at) even the nearest stars – 86 years in this case—for our characters it means that they simply step through the Q-portal (once the probe has arrived somewhere) and instantaneously are light years away. But in  this case, through the malfunction of the robotic interstellar probe that will be understood only late in the story, they are not 11 light years from home as planned but 400,000 light years (and more than a million years in time) away. This creates problems.

  • The reason the probe ended up a mere 399, 988 light years off course will also be scientifically – if briefly – explained. The answer is that something accelerated the probe to near light speed so that although only 86 years had passed aboard the robotic spacecraft, more than a million years had passed on Earth. Every aspect of our characters’ Earth, nations, families, and culture have long since passed away in the now of this new world they’re standing on, but the Q-portal – connecting to its mated Q-portal on 2148 Earth – doesn’t know that. Thus the quantum portal has accidentally become not only a scientifically plausible means of instantaneous transportation, but also a time machine.

None of this matters to our characters, who simply want to get to Q-portal Two so they can step through the Q-door back to their home and friends in 2148, but the probe’s quantum stretching of space and time are creating the very Timequakes that drive our plot.

Part IV – Characters:

There are 8 members of the Exploration Service’s Tiger Team One:

JAKE GORMANgeologist, former hard rock miner, and leader of Tiger Team One

Gorman is the kind of man that other men – and more than a few women – have followed into battle and expeditions throughout history. Trained as a geologist, blooded as a miner working in spacesuit-required high risk sites on asteroids, Mars, and the moon as well as on devastated areas of Earth, Gorman has kept his body fit and his quiet sense of humor intact despite the scars and years of painful – but fun -- experience. When Gorman speaks, or barks, others tend not just to listen but to obey at once. Somehow his own alpha-male status seems to amuse the Team Leader and occasionally we see the small, ironic smile that he allows himself to show from time to time. Even his self-deprecating irony never lessens his alpha-male status.  (Bruce Willis owns that smile. John Wayne used to. Even a Tom Selleck occasionally shows it.)

Born Jacob Gorman in the nuclear-glass deserts of New Israel, Jake Gorman has become somewhat of a legend in the Exploration Service. This is the eleventh new world he’s Q-portaled to and he’s never lost a Tiger Team member on even the most deadly world where spacesuits, guts, and a strong survival instinct are basic necessities. He doesn’t plan to lose anyone on this Timequake World.

KATE MILES --  engineer, technician, equipment specialist

When other four-year-old girls were playing with dolls, Kate Miles was disassembling her parents’ atomic clock and putting it back together. And it worked.

A veteran of four Q-portal missions, Miles is attractive and ambitious – and she doesn’t mind too much when that first trait serves the second one. Her goal is to be chief engineer in the Exploration Service by the time she’s 35. She finds Jake Gorman interesting and hasn’t hidden her attraction to him during the months of training, but mostly she’s just pleased to serve on a Tiger Team with such a legendary leader. She’s sure it will help her career. (The only problem is that Tiger Team Leader Gorman hasn’t seemed to notice her less-than-subtle hints.)

Miles is a devout Gnostic – much more fundamentalist and simplistic than Father Finn, although she doesn’t know this – and most of her inward search for gnosis looks very much like a search for success and power. But she’s an excellent engineer and technician.

Miles’s motto is – “If I can’t fix it, I’ll build a new one. If the new one doesn’t work, I’ll invent something better.” So far, she’s been as good as her word.

DEN RAE-CHEN  -- botanist, paleo-exobotanist, expert in extremophile life forms

Rae-Chen is the only member of this Tiger Team who was not born and raised on Earth. Technically, she’s a Martian and her appearance – slender, tall, long-legged, exotic, large-eyed, beautiful – bears out that description.

Born in the bubble-town of Burroughs in the 80-year-old independent Mars Free Colony, Rae-Chen got her full-gravity legs and advanced degrees in botany on Earth, but she still finds some of the predominant Earth culture and habits strange. Occasionally she’ll ask questions of the others that incidentally explain things to the rest of us – such as when she asks about the “Sign of the G” that Gnostics sometimes make when under stress.

This is Rae-Chen’s first Q-portal mission but her expertise on botanic life forms – both terrestrial and subsea, especially of the “extremophile” life that might live in deep oceans huddling near magma vents or around sulfur springs or in lost lakes under Antarctic ice or introduced to the frost caverns of her native Mars – is profound. Rae-Chen has trained with the exobiologist on the mission, Father Finn, and the two make an odd pair – the beautiful, sensuous Martian and the craggy, ascetic Gnostic priest.

PAUL ROSSIastrophysicist and astronomer

Rossi, a former professor of astrophysics at Harvard/MIT/Grace, tends to be verbal and emotional, the latter quality unusual for Tiger Team Exploration Service members. But Rossi is also the best astrophysicist in the Service and since the planned Tau Ceti Prime mission was to be the furthest planet yet Q-stepped to – 11.9 light years from Earth – they wanted their best astrophysicist on the mission, even if a few teammates in the past have considered him a profane loudmouth.

But Rossi hadn’t signed up to step more than 400,000 light years to this unknown world (not to mention a million years into his Earth’s future if they can’t get back via Q-portal) and his nerves begin to fray very quickly. Despite Rossi’s relative instability, his observations about where they are and how the Q-probe got there and what the hell the Timequakes are and how they came to be are all absolutely essential to the team surviving and escaping to Q-portal Two. It’s Rossi’s first Q-portal mission and his goals are to survive, get home, and never go on another one. The race is whether he’ll crack up before achieving any of those goals.

ÄNRIKAsecurity chief and weapons specialist

This woman has no science specialty or background. Her job is to keep the other seven Tiger Team One members alive . . . even if means killing anything or anyone that comes at them.

Änrika’s background is all military before she joined the Exploration Service and her dossier makes for horrific reading. Q-portal missions don’t usually require security chiefs to go in during the early Tiger Team exploration stages since there’s never anything more threatening on the new worlds (before this one) besides poisonous air and the occasional lichen .. until, that is, the hundreds of other humans step through the Q-portal and begin studying and colonizing. Then her head-bashing and enforcement skills usually come into play.  But the first remote-sensor looks through the Q-portal at this strange new world – so different than what they’d expected to find on the Tau Ceti Prime world they had been aiming for – meant that a military person had to be added to the original team of seven. Änrika was inserted into the team – whose members had been simulating and practicing together for months -- with less than an hour’s warning from the E-Service’s brass.

Änrika’s sudden addition to the roster upsets the balance of the team, not the least because she’s a natural-born leader and immediately begins locking horns with Team Leader Gorman. The Boss and the Security Chief are like two stickleback fish in a new tank who begin fighting to establish territory from the first minute they’re dropped in the water.

Änrika also despises religion in any form – she’s not only seen the results of the Hundred Year religious war that’s raged since the 21st Century, she’s fought in it and had to mop up the carnage – and she can’t stand Father Finn and the stupid Gnostic Church he represents. She’s not very happy with the Global Accord political officer, Kosimov, either – despite the man’s charm and humor. She’s seen too many of her fellow troopers die because of idiot political decisions. Änrika’s humble opinion is that all ministers and politicians should be fed to sharks. Slowly.

But she’s quick and accurate with a flechette rifle and a dozen other high-tech weapons sent along on this unusual Tiger Team Q-portal mission. For that matter, Änrika is deadly with a knife, a tree branch, or her bare hands. And she soon shows that she can kill just about anything that moves, blowing away creatures of intimidating size or speed or craftiness. The question sometimes debated by the Team is . . . should she? For a mission of scientific inquiry with profound religious overtones, Änrika is leaving quite a wake of alien corpses in their path.

JEAN-CLAUDE MAURIACdoctor

Mauriac is the humanist on the mission and perhaps the most outspoken member of Tiger Team One.

A longtime member of the honorable and ancient Medecins Sans Frontières (Doctors Without Borders), Mauriac has seen and tended to much of the same human violence and stupidity that has so embittered Security Chief Änrika, but rather than harden him, his experience has made him love humanity all the more. But he’s not sentimental about humankind. He just wants it to survive. It’s why he joined the Exploration Service – to find and colonize new worlds and give aging, battered humanity a fresh start somewhere.

Mauriac knows and trusts Jake Gorman – it’s his third Q-portal mission with the Tiger Team leader – but he suffers fools not at all and speaks his mind whenever he wants. Not religious in any way himself, he also distrusts Father Finn, but – unlike Chief Änrika – doesn’t have the urge to chop the priest into bite-sized sushi every time the Gnostic holy man speaks.

It will fall to Jean-Claude Mauriac during this mission to do the hardest task of all: i.e. carry out repeated autopsies of his fellow teammates when they find their own bodies in the future and analyze why and how they died. It will be even harder when he has to autopsy his own corpse after the team is repeatedly Timequaked forward into their fatal futures.

FATHER FINNexobiologist, Gnostic priest

Gabriel Michael Finn is a good and dedicated biologist – his specialty is exobiology covering those few alien life forms discovered so far on other worlds and those many speculated upon – but he’s an even more dedicated Gnostic priest.

He was also orphaned at a young age and this fact has done little to diminish his Gnostic urge to “find the AWOL God” – i.e. some larger meaning within himself or the universe. Finn is quiet and competent as a scientist and effective as aTiger Team member – this is his sixth Q-portal mission, so he has more experience than anyone except Team Leader Gorman – and he tends to be quiet and serious about his faith. Some people misinterpret this as zealotry, but Father Gabriel Michael Finn is far from being a zealot. Most of his life has been filled with doubts and – as is true of many priests in many religions over the millennia – his years of study of theology have essentially turned him into an atheist. Trained in logic by Catholic Jesuits in his orphanage in Indonesia as a boy, Father Finn is logical in ways few people ever achieve. And all that logic points to the fact that his faith is not just a false hope but a huge crock of cobblers.

But Finn sees the alternative to his stubborn faith in gnosis – true knowledge through personal encounter with the ineffable – as despair or nihilism. He refuses to surrender to either. So even while carrying out his duties as exobiologist and explorer and arguing with other team members who care less about exploring this world and its species, Father Finn is mostly at war with himself.

That battle is soon to widen to real conflict with other members of Tiger Team One as Father Finn sees a chance for both enlightenment and salvation on this strange new world – most specifically in the tree-dwelling and soaring creatures they call Night Howlers. Clues over the coming days will convince  him that these beings are not only intelligent, but that they may have the answer to the question of Where Has God Gone?

NIKOLAI KOSIMOVGlobal Accord political officer, diplomat, and anthropologist

Kosimov is a riddle wrapped in an enigma swaddled in a joke.
The official representative of the Global Accord – the international entity that has finally brought some sanity to the world after more than a century of bloodletting – is a complicated man who wants to be seen as very uncomplicated. Besides being there to keep the opinionated Tiger Team One members from killing each other – or, more likely, from being less efficient in their exploration through simple bickering, Kosimov also has political motives the others can only guess at.

But Kosimov’s sense of humor is real (and obvious) enough. Nothing seems so sacred to him that he can’t make a joke at its expense. The political officer has been on three previous Q-portal missions, but not with any of these people, so no one on this team yet sees that his amiable and easygoing manner hides some real inner pain. It’s easy to imagine G.A. Political Officer Nicolai “Nick” Kosimov in the form of Robin Williams’s character in “Moscow on the Hudson.” When having what he calls “Black Dog Days,” Kosimov also plays jazz on an old saxophone . . . and against all rules he’s brought the sax along on this mission.

At one point, as the Team’s terribly distant and lost home galaxy rises in the night sky, Kosimov will play his saxophone in a lovely and sad improvised harmony to the alien chorus of the unseen Night Howlers.

BOBBY Al-DURI --  communications officer, cartographer, and linguist

Al-Duri not only launches the Team’s tiny comsats in the first scenes but is responsible for the mapmaking and GPS interpretations of the satellite data that will – or will not – get them safely to Q-portal Two and escape. As comm officer, he also keeps track of the PDT – personal data transmitter – locations, which results, after the Timequakes, in al-Duri leading the team to the sites of their own deaths.

His greatest importance to the team comes when al-Duri is responsible for trying to decipher what may be a language of the Night Howlers and then – at an alien, aerial city strung between two mountain peaks – also trying to decipher faded cryptograms and hieroglyphics that not only would tell them whether the Night Howlers are sentient beings, but explain how they seemed to have the power to call up a god -- or God -- whenever they wanted.

Al-Duri seems to be a stolid, unimaginative, capable, and friendly-enough man, but there are hidden emotions seething under the surface, first among them being his hatred of Father Finn and the entire Gnostic movement. He also distrusts the amiable Kosimov and would love to undermine the Global Accord. No one realizes that he has an old score to settle with the security chief, Änrika. But despite his revolutionary urges – the urge to bring the Global Accord down in flames and dismantle every Gnostic church on Earth – his immediate loyalty is to the Exploration Service and to the other members of Tiger Team One and for now he struggles to do his best as a comm expert and team member.

The constant Timequakes, the team’s brutal encounters with their own dead bodies and sense of mortality, the threat of the Night Howlers, and the tension of trying to escape this alien world push all of these capable men and women to and beyond their fracture points. Bobby al-Duri is no exception and his point of fracture is very dangerous indeed.

#

Part V – Opening Scenes:

We open with a standard SF image of a spacecraft decelerating toward an earthlike planet, but we see right away that this is no manned ship. It’s tubular, angular, futuristic in a totally functional way, showing dizzying arrays of antennae and probe booms, obviously robotic, more negative space than mass. A late 22nd Century techno-sculpture. And – miracle of miracles! – the fusion engines are burning with no sound! For the first time since 2001:A Space Odyssey, we hear what an observer in the vacuum of space would hear while watching roaring atomic engines . . . not a damned thing. No woooosh of passage. No ziiiip of air rushing by where there is no air. No impossible rumble of engines where there is no medium to transmit the rumble. Nada.

Still in silence, the probe ceases its deceleration and kicks away its engine and huge empty fuel spheres. The earthlike world – white clouds, blue seas, but landmasses obviously not Earth’s – grows larger, filling the screen. But there are no stars visible in space. This will be very important later.

The interstellar probe begins unraveling itself. Two cylindrical smaller probes – also obviously not crewed vehicles – separate from the dismantled mother ship. All three objects, plus the fuel tanks, engine bells, and other jettisoned detritus, hurtle into the planet’s atmosphere. The mother ship and loose parts burn up in the upper atmosphere, but the two cylindrical probes have heat shields and burn scars across the world’s sky like flaming meteors, streaking above the night side of the world where towering stratocumulus are lit from within by huge lightning storms, the probes sonic-booming their way across the terminator into daylight.

In the atmosphere proper now, the two probes eject their scorched heat shields, deploy drogue chutes, then real triple ‘chutes. The probes are separating now, obviously the intention of their designers, one flying much further above the brown and green continent before deploying its chutes. They will land several thousand kilometers apart. We follow the first probe down.

At an altitude of about three kilometers, the probe jettisons its parachutes and small, violet-thrust ion engines pulse. We’re deep enough in the atmosphere now that we can hear the ion engines: not a rocket’s roar, but deep electrical thrum-hums.The skeletal probe slows, hovers, computers, cameras, and radar obviously searching for the best landing spot, and then it descends, lifting over what could be a tree-covered volcano, lower, lower, and sets down close to the coast near a forest of profoundly alien but tropical-feeling trees.

For a minute the lander just sits there as if satisfied by its own robotic accomplishment, but then it quickly begins extruding booms, vertical stanchions, a web of filaments connected on a horizontal frame – we can’t guess the scale for sure but it looks to be about thirty feet across – and suddenly the power source in the belly of the probe glows red and we hear a hum and then screeching whine as it powers up.

The interior of the framework turns into a humming, zapping rectangle of pure gold light – a movie screen with the brightest projector in the universe. It is a Q-portal – a quantum teleportation door.

Through the Q-portal lunges a nest of metallic snakes with cobra-shaped black plastex heads, their long sinuous snake-bodies extending back through the golden glow. These snake-probes sniff the air, taste the sand, snip foliage from the alien trees, video-image the surroundings in all directions, and then whip back through the surface of the portal. We get a sense of time passing as shadows around the probe, trees, and Q-portal lengthen and shift.

Suddenly six humanoid but obviously inhuman shapes step through the golden energy surface – heavy, chromed, helmeted and black-visored, backpacked and armored, carrying weapons. It’s the first time we see combat suits.

Two of the suited figures rise a hundred meters into the air with nearly subsonic hum and swoop this way and that above the alien treetops. We’re seeing the electromag repellors in the backpacks of their combat suits working.

The four figures still on the ground check out their surroundings and establish a perimeter – a literal perimeter, setting down small Briggs-field generators on tripods in a sixty-meter radius around the Q-portal, creating a just-visible dome of a forcefield. Nothing’s going to come through the Briggs-field if they don’t want it to. Then we hear their voices for the first time, over a radio link.

GORMAN (leader of Tau Ceti Prime Tiger Team One, one of the flying figures and landing ):  I can’t believe it. Twenty-two dead worlds in a hundred and five years of quantum-stepping and we finally hit the jackpot.

FATHER FINN: (Exo-biologist as well as Gnostic priest, his voice awed) Trees. Blue sky. Point nine-three earth standard gravity. Sand. Water. Breathable air. DNA-based microbes. Trees for God’s sake! Plants!

RAE-CHEN: (female botanist, with a soft Martian-colony accent) It’s not the first life we’ve found via Q-portal. Don’t forget the heat vent extremophile lichen on Procyon Alpha.

KOSIMOV: (Global Accord Political Officer – with no malice in his voice at all, laughing): Oh, fuck the extremophile lichen on Procyon Alpha, Rae-Chen. This is a real world! Plants, trees, air, dirt . . .

ÄNRIKA: (security chief—female, the second flying figure, still hovering): And with plant life this advanced and earthlike, odds are good that there are  animals of some sort. Predators. Things that would be happy to eat us if they could. For all we know, the plants may want to eat us.

The security chief lands and the deep hum from her backpack repellors goes silent.

KOSIMOV: (still laughing) For all we know, the dirt may want to eat us.

FATHER FINN:  It can eat us, but it can’t digest us. Nothing here can. Evolution doesn’t work that way, no matter how much these look like terrestrial trees. An animal predator here could look just like a T-rex but it still won’t like how we taste . . . not after billions of years of separate evolution. Nothing here can digest or metabolize  us any more than we can digest these alien-DNA leaves.

ROSSI: We all know that, Father. But it’s a little academic. Who cares if this local not-quite-T-rex shits us out whole after it eats us?  The point is not to be eaten.  (beat) Speaking of which, who’s going to do the honors and declare this atmosphere breathable?

GORMAN:  My job. (He unseals his helmet, pausing for dramatic effect, and folds it back into a cowl. A handsome but normal-enough looking man in his late ‘30’s or early ‘40’s. A few faint scars in his otherwise tanned face show that he’s lived an adventurous life, but something about his demeanor and voice had already shown us that. The other figures, still in their sealed combat suits, watch carefully for a long moment.)

GORMAN: (continued) Whoa! Jesus!

They all start with alarm. Security Chief Änrika’s suited figure actually raises her weapon and swoops into the air again.

MULTIPLE VOICES ON THE COMM LINK:  What?

GORMAN: I haven’t tasted air this fresh and clean since my vacation on Bora Bora twelve years ago.

MILES:  (the female tech-master/engineer) You bastard. Shall we bring the Hum-G’s  through?

Miles walks over to the Q-portal framework and pats it lovingly.

MILES: (continued) I love it. This poor baby spends eighty-six earth years accelerating and decelerating alone through space to find this world and we step through in a nanosecond.

ROSSI: (the astronomer and physicist, remember) – A lot faster than that, Kate. If it took a full nanosecond to quantum teleport you the 11.9 light years from Earth here to Tau Ceti Prime, you’d be stretched that full distance like so much flesh-spaghetti. It’s just lucky that . . .

Rossi stops, stares at the setting sun while shielding his eyes.

ROSSI:  That’s strange.

ÄNRIKA:  (on alert in an instant) What?

ROSSI:  Tau Ceti seems too large, too bright. It’s a G8 spectral type sun, zero-point-nine solar mass but only forty-four hundredths the luminosity of our sun. The deep space orbital telescopes showed this terrestrial-sized planet at point-six AU – almost half again as close to Tau Ceti as we are to Sol – but this sun still looks too damned large and bright. I’ve spent years studying the computer sims.

GORMAN: (wryly) We’ve all spent years studying the sim, Paul. You think the probe went to the wrong star system? Just sort of accidentally landed on the wrong planet?

ROSSI:  No, no, of course not. But still . . . the sun  doesn’t look quite right for a G8 star at this distance. I programmed those sims, remember.

MILES:  Atmospheric distortion?

RAE-CHEN:  The sun’s close to setting. Setting suns always look larger, even on Mars where I grew up . . . and there’s not enough air there to breathe. Setting suns get magnified like a rising moon on Earth, right?

ÄNRIKA:  Are we going to bring the rest of the Tiger Team through or just let them cool their heels on Earth while we debate sun size until it sets and gets dark here and the carnivores come out to feed?

They’re all shucking their helmets now, breathing deeply, but keeping their impact-armor combat suits on for the moment. Their weapons are attached by stiktites to their belts.

GORMAN walks back to the Q-portal, pushes his head and shoulders through the glowing rectangle, and then quickly steps out and aside. A minute later two armored, carbon-fiber wheeled, and heavily-packed vehicles, futuristic Hummers called Hum-G’s, roar through the portal and brake to a halt, throwing up sand. Each vehicle trails an umbilical cord back through the Q-portal: comm lines to home.

The drivers get out, both wearing soft, unactivated combat suits with the cowl-helmets folded back   –   MAURIAC, the doctor, and AL-DURI, the linguist and comm specialist.

MAURIAC: (taking it all in) Beautiful! Incredible. Absolutely fucking incredible. Oops . . . sorry, Father.

Father Finn smiles and shakes his head.

FATHER FINN:  (nodding toward Team Leader GORMAN and Security Chief Änrika) With your permissions, I’m going to get out of this combat suit. The impact armor won’t let me scratch where I itch.

GORMAN and Änrika nod and Finn sheds the outer layer. The cleric-exobiologist is now dressed in a blood-red singlesuit with a white-in-red clerical collar. The Gnostic Church – an actual form of Christianity stamped out as heresy in the earliest days of the Church but as tough and resilient as kudzu over the millennia -- is widespread in our Earth’s future 142-years hence, more pervasive and important even than the Global Accord political structure which Political Officer Kosimov represents.  Gnostics seek gnosis – deep personal knowledge – above all else. They acknowledge a universal God and a Creator, but those are two far different creatures in gnostic theology. The Creator is believed to have botched the creation of the universe and the Earth – the Creation was sort of an undergraduate art program for which the Creator received a D- -- and the cosmic God, of which we shall hear more as the tale unfolds, turned His or Her back in disgust and has not been seen or heard from since.

Part of any devout Gnostic’s life-mission is to find that real and very absent God. Most Gnostics look within themselves or carefully at the world around them. Father Finn has traveled 11.9 light years in his search – and his personal doubt would send him a hundred times that far if it were possible.

Our characters are not all Gnostics – Rae-Chen, for instance, grew up on Mars where there are no organized religions – but all of the other characters are from Earth in the year 2148 and they and their parents and grandparents have seen a lot of existential shit hit the historical fan. Our troubled early 21st Century would look like golden happy days to these surviving descendents of survivors. They aren’t all Gnostics, but they all share a born gnostic’s sense of loss. Humankind in the mid-22nd Century feels abandoned in more ways than one.

It is part of the Exploration Service’s job to seek out that elusive Gnostic God – the ultimate Deadbeat Dad --  should one actually exist. Father Finn takes that job as seriously as he does his scientific role as team exo-biologist. As we will see as the story progresses, this becomes a major plot point.

The Tiger Team unpacks tents and gear from the Hum-G’s, setting up camp and beginning their experiments within the sixty-meter radius of the protective Briggs-field. Standard operating procedure for Q-portal tiger teams is to spend seventy-two hours hundreds – begin stepping through the portal in different teams with different jobs. Radio waves can’t pass through the glowing portal, but communication and video and audio feeds back to Earth are constant through cams on the nine humans and set about the camp, fed through old-fashioned optic cables amidst the web of umbilicals now passing back through golden portal.

Al-Duri, the comm specialist, removes a small shoulder rocket launcher from one of the Humm-G’s, repellors above the protective Briggs forcefield, and fires the rocket carrying three tennis-ball-sized payloads skyward.

We WATCH as the tiny rockets climb into the stratosphere and then above, propelling the three tiny satellites into geosynchronous orbits around the alien world. The tiny cameras and sensors now monitor most of the planet and send their various feeds to our Tiger Team.

Al-Duri drops back through the protective half-sphere of the Briggs field – the field is keyed to their implanted personal data transmitters and allows them to pass through while keeping out other living organisms -- and shows the others the holographic readout hovering above his palm diskey. The others gather around him and stare at the first map of their new world.
AL-DURI:      See . . . here we are down on the southwest coast of this largest continent. It looks sort of like an eagle flying to the left with its wings spread, doesn’t it?

KOSIMOV:    More like a turkey trying to get airborn.

AL-DURI: (who seems to have little sense of humor) All right. Like one of those extinct birds. But you see our PDT’s down here on the lower belly of the continent, right on the coast. And our Q-portal probe sending up its signal. It’s working fine. And here’s the signal from the second Q-door. It’s about five thousand kilometers northeast of us on the same continent, all the way up near the eagle’s . . . or turkey’s . . . beak. Also on the coast.

KOSIMOV:  What does the personal data transmitter bio-telemetry say? Are we all still alive?

GORMAN:  (interrupting the political officer’s banter) Five thousand klicks is quite a distance between portals. Usually the probes try to land closer to each other . . . in case a rescue operation has to be mounted from the second portal.

ROSSI:   Has a rescue mission ever had to be sent through Q-portal Two?

GORMAN:  No. Not for a Tiger Team. Not during the first seventy-two hours.

ROSSI:  There you go then.

MILES:   (setting her hand on and through the hologram)  Actually, I think the landing probe just chose the safest landing site. They’re programmed to land at least a thousand klicks from each other and you can see from the topography overlay that most of the interior of this continent looks to be jungle, mountains, and desert.

GORMAN:  (pokes a finger at a green area about halfway across the continent) This looks to be an extensive grassland or savannah. Probe Two with the second portal could have put down there. That’s almost two thousand kilometers closer.

RAE-CHEN:  It’s possible that Probe Two’s sensors decided that those grasslands were too marshy or that it picked up some other problem that al-Duri’s comsats can’t resolve. These coastal flatlands seem the best spots, even if they’re not close. Or maybe the probe AI’s just found that spot a lot more interesting for some reason.

ÄNRIKA:  Five thousand klicks – three thousand old-style miles – the distance from what used to be New York to what used to be Los Angeles. No, not close.

MILES sets about building a campfire using branches fallen from one of the exotic trees as fuel.

MILES:  Hey, the wood burns.

ROSSI:  Yay! The laws of Physics One-oh-one apply here, too. Big surprise!
KOSIMOV: (looking up at the tree from which the branch had dropped, stroking his chin) But what if the trees here are sentient . . . and don’t like having their fallen branches burned?

Everyone is silent a beat, looking up at the alien trees, and then most start laughing at the same instant.

RAE-CHEN: (the botanist)  Nikolai, you are so absolutely full of . . .

KOSIMOV: (voice suddenly serious) Look!

It’s just a sunset but it’s the beginning of their nightmare.

All eight turn to the west and watch the sun set beyond the ocean horizon visible through the tropical trees. The sky is absolutely cloudless. For a few seconds the star they believe is Tau Ceti hangs there on the horizon as red and full as any Pacific sunset on Earth and then it is gone. Twilight lasts only a few seconds. Full darkness descends.

FULL DARKNESS. A darkness more absolute than anything any of them have experienced outside of being deep in a cave with all artificial lighting extinguished.

Lights on the Hum-G’s and on their combat suit backpacks and on various equipment switch on automatically. Änrika has flipped her helmet back on and rigidized it, and now is turning quickly, sweeping the perimeter with thermal imaging, light intensifying, and other night-vision tools.

ÄNRIKA:  There’s no light!

DR. MAURIAC:  We know that, damn it!

ÄNRIKA:  No, I mean there’s no starlight. None. I get thermal readings from us, the Hum-G’s, the ground, the trees, even some large living organisms that seem to be in the trees . . . but no starlight at all for the image intensifiers to use.

ROSSI:  That’s impossible. Tau Ceti is less than twelve light years from Earth. It has almost the same night sky as Earth and Mars do. More than three thousand stars should be visible to the naked eye . . .

He is straining to see up through the Q-portal’s and Hum-G’s lights and campfire glow. Others in their combat suits quickly flip up their helmet cowls. Father Finn gets to his feet from where he had been sitting near the fire. He seems mildly curious.

GORMAN:  Shut off those damned lights. Miles, douse that fire.

ROSSI:  (sounding suddenly terrified) We have to see the sky. We have to see the sky! I won’t be able to tell if we’re really on Tau Ceti Prime unless I can see the constellations. Turn off those lights!

The lights are off now, the campfire doused, but the golden glow from the Q-portal is too bright.

ROSSI: (continued, to GORMAN) Commander, we have to shutter  the Q-portal. It’s too damned bright.

MILES:  You’re joking, right? Shutter our door to Earth? The whole idea is to leave it open so we can skedaddle back through in a second if . . .

ROSSI:  Then I need to go out through the Briggs-field and walk or fly far enough away from all this damned light that I can see the stars. I’ll be back in a few minutes.

He begins walking toward the perimeter.

GORMAN:  No one’s going for a stroll or flight out in the dark beyond the field. It will only take a few seconds to open the shutters again when we have to. Close them, Kate.

MILES:  (nodding)  We’ll have to disconnect the umbilicals. Lose contact with Command while the shutters are down. Lose contact with Earth. Shouldn’t we ask Admiral Ỗta if . . .

GORMAN:  I’m in command of Tiger Team One while we’re on this side of the portal. Admiral Ỗta can court martial me later if this is the wrong call. Close the shutters but make sure those umbilical connections are all connected to the inside of the shutters so we can hook them up again in a hurry.l

The engineer scrambles to the base of the probe pylon and taps in codes while Kosimov, Miles, and Rossi hurry to disconnect the umbilicals and attach them to inside of the shutters.. Lengths of the dozen or so thick cables snake back through the quantum gold door just seconds before metal shutters with their attached umbilical connections on the inner sides slide down over the portal and clack shut, shutting off the glow. The lights on the Hum-G’s and backpacks are off.

The camp is in absolute darkness. The human voices seem very quiet in that pitch blackness.

MAURIAC:  Jesus H. Christ on a stick.

FATHER FINN:  (tone flat, ironic, perhaps mildly amused) Jean-Claude. This is no time to be blaspheming.

MAURIAC:  Sorry, Father  . . . but, I mean, look. There are no fucking stars up there!

ROSSI: (the astronomer and physicist) That’s impossible. It has to be clouds . . .

MILES: You saw that sky, Dr. Rossi. It was cloudless! Pure blue.
ROSSI:  It’s an alien sky, Kate. There are bound to be surprises. High levels of dust that allow the sun to shine through but which obscure the stars. Optical distortions created by . . . I don’t know . . . electromagnetic anomalies. We don’t know what the magnetosphere of this world is like and it could be that  . . .

MILES:  Electromagnetic anomalies my ass. I’ve got my visor tuned to every sort of light-augmentation, infrared, UV, gravitonic, and EM- frequency possible. Dr. Mauriac’s right . . . There are no fucking stars up there!

GORMAN:  (voice low but in absolute command of himself and others) Calm down, people. Stay professional. This is what we’re paid for . . . to experience new things and figure them out before they bite us in the ass. Maybe you’ll get to earn your pay tonight.

MILES:  Boss, I’ll trade you my next month’s paycheck for one lousy star in the . . .

Miles shuts up as an incredible sound erupts from the alien jungle around them. From the thousands of tall trees – from between the trees, as if alien creatures were soaring or flying – comes the most astound HOWLING and BAYING that any of the humans have ever heard. It is part pipe organ, part alien Gregorian chant, part wolf-howl, and part something totally alien to the eight humans’ ears.

Everyone except Dr. Mauriac and Father Finn reflexively take a step closer to the others and raise their weapons.

ROSSI:           I’ve never heard anything like that in my  . . .

FATHER FINN:  Those are living organisms. Voices.

MAURIAC:    It reminds me of a church choir in Notre Dame . . .

ROSSI: Yeah . . . a church choir of maniacs.

KOSIMOV:    It reminds me of either a Wagnerian opera or the catwerwauling I heard the night the Kiev orphanage burned down, not that the two sounds are all that dissimilar . . .

GORMAN:     Shut up. Everyone shut up.

Suddenly the HOWLING, CHANTING, BAYING grows louder and more intense. Through their cowl filters, the humans can hear the FLAPPING and SWISH of large, leathery things flying between the trees in the near total-darkness.

KOSIMOV:    Bats?

GORMAN :  Everyone in your combat suits. Button up. Internal air only. Miles . . . make sure the Briggs-field generators are on full interdict.

ÄNRIKA:  (calmly)  Set your weapons to maximum  flechette spread . . .

ROSSI:  Look . . . in the east!

A glow is spreading above the dark, alien forest.

Then the Milky Way Galaxy – our home, a pinwheel of a hundred billion stars – rises slowly, majestically, turning slowly in the black, absolutely starless sky.

We see the eight figures standing there staring up at it. For those two who haven’t yet fully secured their helmets   – just Father Finn and Dr. Mauriac -- we see their mouths agape as they stand frozen at the spectacle. For the others, their cowl-helmet visors reflect a sight no human being has ever imagined, much less seen . . . an entire galaxy rising.

GORMAN: (quietly)  Dr. Rossi . . . could that be Andromeda? Some . . . optical illusion? Some lens effect or mirage?

ROSSI:  (dully . . . as if anaesthetized with shock)  No, Boss. That’s . . .us. That’s home. That’s the Milky Way . . . our galaxy.

AL-DURI:  That’s insane. Tau Ceti is only eleven point-nine light years from Earth. The probe only traveled eighty-six years and never faster than a third the speed of light. Tau Ceti’s just next door to Sol . . . to see the Milky Way Galaxy like this we’d have to be . . . have to be . . .

KOSIMOV:  Dead? Dreaming? Drunk?

ROSSI:  (still toneless)  We’d have to be at least as far out as the Small Magellanic Cloud. 210,000 light years. But if we were in the Small Magellanic Cloud, we’d see the Small Magellanic Cloud all around us . . .it has millions of its own stars and star clusters. The sky wouldn’t have been empty before the Milky Way Galaxy rose.  No, I think we’re on the opposite side of our galaxy from both Magellanic Clouds and further away . . . 400,000 or so light years is my guess.

FATHER FINN:  Could our Tau Ceti probe have gotten off course? Gone so far afield?

MILES:  (laughs) No, sorry, Father. The fact that our probes can attain a top velocity of almost a third the speed of light through the Accord’s gravity-scissors sling is almost a miracle of technology. But that’s still eighty-six years to travel less than 12 light years. And nothing . . . absolutely nothing . . . can travel faster than light. To travel to the Small Magellanic Cloud would have taken the probe more than a million years earth time.

FATHER FINN:  Wormholes? Black holes? Spacetime warps?

ROSSI:  Just terms and theories, Father. Science fiction ways to travel. We’ve never encountered any of them in our local stretch of space within six parsecs or so of home. And the probe wouldn’t have survived an encounter with any of those things anyway. But wherever the hell we are . . . sorry, Father . . . it’s tens of  thousands of times farther from home than we’d planned. Somehow the probe travelled . . . .

RAE-CHEN:  Everyone hush! Do you hear that?

ÄNRIKA:       I don’t hear anything.

FATHER FINN:  That’s what she means.

They all listen. The NIGHT HOWLERS . . . or whatever they really are . . . have fallen silent as the galaxy has finished its rise into the night sky.

GORMAN:  Kate, open the shutters. I’ll be the last man out and will shut off the Briggs-field when you’re all through the portal. The rest of you reconnect the umbilicals double fast.  Just leave the Hum-G’s and the instruments. Leave everything where it is. We’re aborting this mission and going home to watch this spot and that sky on 3V . . .move . . . NOW.

Everyone rushes to grab their personal stuff and head for the portal.

MILES: (the engineer is ahead of them at the Q-portal’s controls, opening the shutters) Oh, God damn it to hell.

MULTIPLE VOICES ON COMM:  What??

MILES:  The Q-portal is off. Shut down. Dead.

They cluster by the dark rectangle that had been their door to home, milling and turning with weapons raised, not sure which direction the threat may come from but somehow sure there will be a threat. The sight of the chopped-off umbilicals and dead portal hurt them in ways they could never express. They’ve trained for everything. But not for a failure of their Q-door. That’s never happened, so why simulate it?

ROSSI:  Quantum portals don’t shut down! They can’t. It’s a quantum hole in space-time and once activated it can’t be shut off or . . .

MILES:  (gesturing to the unshuttered empty rectangle where the golden glow had been) Maybe not . . .but it’s off. Probe power’s still on, but the Q-portal is gone. Failed. The umbilicals look as if they’ve been chopped off short with a giant scalpel. Our door home is as dead and useless as Father Finn’s  . . .

And then the first TIMEQUAKE hits, hurtling toward them from the east, a giant wave of time-energy a hundred miles high rushing toward them like a deadly aurora borealis, the twist in the space-time continuum rippling over and through plants, trees, people, vehicles, and the dead Q-portal like a tsunami, carrying everything away in its wake.

The story begins.

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