Daylight Saving, Issue 3: Part 1.1

Page 51

Panel 1: We open on an animation of a nondescript family somewhere watching the film from Super Bowl Sunday.

Caption

(Brie's Diary)

"Dear Diary, it's been about a month since the film was shown. The reaction is...I think mixed is a good way to describe it. There's some positive vibes to be taken in certain parts of the populace, but in terms of the section of society I'm trying to impact, it's less..."

FATHER

(amazed) Oh wow...

MOTHER

(inspired to do something) They make some great points.

HS KID

I'll get some kids at school to call Congress for climate legislation.

FATHER

(Bubble 2, to HS Kid) I'll get some of my friends at work to help out, too...

Panel 2: Same type of animation as the previous panel. The lone change is that, instead of the joy and understanding the family exhibited then, it's a mixture of offended anger from the parents and cool counter cultural fascination from the HS Kid.

Caption

(Cont., Brie's Diary)

"And much more..."

MOTHER

Why is this Brie person covering their face? Why not show themselves?

FATHER

'Cause he knows it's bull****, dear. This whole thing is bull****....probably just hype for another Michael Bay movie.

HS KID

I think he looks pretty cool.

FATHER

(Bubble 2, to HS Kid) You ever dress that way in front of me, I'll disown you!

Caption

(Brie's Diary)

"Then there's the less than kind reactions..."

Panel 3: A series of news clippings and images of network and local news covering the story over the proceeding weeks, misgendering Brie's gender and hyperbolic nonsense about the "Evil Gay Agenda destroying the country."

Caption

(Cont., Brie's Diary)

"I had read about the misgendering in the history texts, along with the bigotry from the era that befell anyone who wasn't perfectly heterosexual. Seeing it being hurled at me is another thing altogether...one that's been tough to grit through, I'll be honest."

Panel 4: Back to a shot of Mx. Benoit in their apartment, writing in their diary as they eat breakfast; a glint of sunshine coming in from the off-panel windows in the background.

Caption

(Cont., Brie's Diary)

"But the work has helped soothe it. I've already done a few civil actions in the San Fernando Valley connected to some of the themes of consumption I mentioned in the film."

Caption

(Cont., Brie's Diary)

"There's also Kayla...I can't say how supremely grateful I am that she's still with me."

Panel 5: Flashback Kayla on the phone the night after the Super Bowl, shocked and puzzled and filled with understandable amounts of anger at the situation.

Caption

(Cont., Brie's Diary)

"Especially when, in the heat of the moment, there was no shortage of doubt it'd end horribly."

KAYLA

So...you went back to the year 2000? Why not go back further, supplant fossil fuels before it became an issue?

Page 52

Panel 1: On the other end, back in Brie's apartment, we see the young person pacing and doing their best to try to contain the situation.

BRIE

(defensive) Too much would've been impacted if I went that far back. Besides, the year 2000 is an important bridge year in the whole of humanity. What you do here will bring the world to unforeseen heights or the pits of miserable hell- the hell I came here from.

KAYLA

(interjecting, from the receiver) Right...where did you come from anyway?

BRIE

(Bubble 2) Gerwig City.

Panel 2: Mx. Benoit stands up a few beats later, trying to find a way to smooth the tricky situation as they speak.

BRIE

(Cont.) It's an underwater city just off the coast of L.A., one of dozens the UN set up nearly half a century from now after the calamity that destroys society as you know it. It's named after the woman who created underwater cities who would be...maybe an infant at this point.

KAYLA

(from the receiver) What's it like, Gerwig City?

BRIE

(Bubble 2) ...That's the type of thing I couldn't do justice in on a single phone call.

Panel 3: Kayla lets out an uproarious laugh on the other end, glaring up at the roof at the same time.

BRIE

(Cont., from the receiver) Not to presume you'd want to resume our romantic journey. Like I said in the E-Mail, I'd understand if you want to completely forget I ever existed--

KAYLA

(interjecting) Fat chance I'll ever forget you existed! It doesn't mean I'm still not pissed that you didn't just admit it the first time we met.

Panel 4: Same setting/layout as the previous panel. A few moments later, the young woman turns her focus back toward eye level; her demeanor softening slightly in conjunction with the rest of the answer.

KAYLA

(Cont.) But there are a lot of things about the year 2100 I wanna know, not to mention your family and all that. Next week good for you?

BRIE

(from the receiver) Yeah. It--It's great for me.

KAYLA

(Bubble 2) Awesome!

Panel 5: Back to Mx. Benoit at their apartment, having stopped pacing compared to earlier in the page. You can see a little glimmer of hope on the young person's face as they speak.

KAYLA

(Cont., from the receiver) Just so you know, to hammer it home, this doesn't mean it's a guarantee we're still gonna be together. I--

BRIE

(interjecting) Nah, I know. Just happy to keep your blessed company, however long that might be.

KAYLA

(Bubble 2) HA! Cheeseball...

Caption

(Brie's Diary)

"I engaged in a full dive of my family and my overall mission in 2000 at that date. She seemed tentatively open and still willing to call me her beloved, which I still thank the Gods for."

Panel 6: Action shot of the young person later that day, heading to the big communal mailbox in their apartment building. You can see a few other tenants passing by in both directions in the background.

Caption

(Cont., Brie's Diary)

"Especially as I figure out what precisely the Second Stanza's gonna look like."