Inaffection: The Absence

By Daniel Slack

Alone in a deserted city and with help from a friend, Q contemplates truth and battles disbelief as he tries to find a 'true reality' by way of observing his theoretical physical phenomena to do with the start of creation: the big wave.

• Language: English
• Publisher: Daniel Slack
• Release date: Jun 17, 2016
• ISBN: 9781310757969

Daniel Slack

I'm Daniel Slack, author of The DSU (Daniel Slack Universe). This is a collection of stories written in the form of screenplays - movies. These stories are all encompassed in science fiction, but incorporate a multitude of genres such as romance, horror, action, adventure, crime, drama, war and western. What brings this universe together is both spatial and thematic. Whilst the stories are connected, they are all individuals - at times, they may even seem like non-sequiturs. So, it is not likely you will be seeing many reoccurring plot-lines or characters. However, all of these stories interweave and support each other as to build a universe of my design, one that if you want to explore further, you'll have to investigate yourself.

Book preview

Introduction

This is apart of The DSU, a network of stories that support, expand and deepen each other across a complex and expanding universe.

So, to explore further...

Join the DSU

Contacts:

@DanielSlackDSU

[e-mail]

facebook.com/DanielSlack

Before we start...

This is a story told in the rough form of a screenplay - a movie.

This format works best with lower font sizes, especially on smaller devices.

If you've never read a screenplay, you'll need to know the following:

EXT - Exterior. Found in scene headers to indicate we are outside.

INT - Interior. Also found in scene headers, but to indicate we are inside.

(O.S) - Off screen. Found next to character names.

(V.O) - Voice over. Also found next to character names.

(CONT'D) - Continued. Used to indicate continued speech next to character names.

SUPER: - Superimpose. To indicate text is seen over images.

The rest should be self-explanatory.

Enjoy...

Chapters:

1. Video Log #1

2. Meet V

3. Cinderella

4. Putting Plans Into Action

5. Video Log #2

6. The Morning After

7. Video Log #3

8. Coraline

9. Testing

10. Meet REX

11. Lost In Translation

12. Video Log #4

13. More Plans, More Action

14. The End Nigh

15. Over And Out

FADE IN:

INT. Q'S ROOM - NIGHT

A man, Q, sits recording a video log. The room is dark, there is nothing to see but his tired eyes and light deprived, pale face.

Q

Reality is a human construct. What you are, feel and do is a product of perception.

INT. KITCHEN - MORNING

Q sits on a red sofa eating a bowl of cereal. He faces an old T.V set, staring through the blank screen.

INT. Q'S ROOM - NIGHT

Q

There were forty-nine quintillion people on this earth, in mine and indeed everybody else's perception. This means that there were seven billion people alive on this planet, each with the capacity to feel and give off emotion, to have a sense of self. One person sees another in a subjective manner and each self could have been seen through seven billion perspectives, therefore, there were seven billion squared people on this planet. Forty-nine quintillion people.

He looks down at a piece of paper and touches his next reference point.

Q

Perception and the self are words that communicate ideas via emotional output and reception so that one schema can be attributed to another, between minds. This process is understanding. Not so much one another, but much rather stimuli and oneself.

Q reaches past the camera he's recording on and flicks the light switch on.

The room's lit up. It's practically empty apart from an unmade bed in the corner and the desk Q is sitting at. Everything is layered in a thin veil of dust and neglect.

Q wipes his eyes before continuing:

Q

The self is a projection of adaptation, it's an amalgamation of experiences that span our life and transcend it simultaneously. By nature we are coded, yet blank slates. These slates are filled in as we live, transcribing the self from perception. Because who you are is a product of experience, we are conditioned to adapt in accordance to what the self fundamentally wants. To survive.

INT. Q'S ROOM - DAY

Q sits at his desk scrawling on paper.

INT. Q'S ROOM - NIGHT

Q

Survival is the essence of the self and consciousness, as all we do is driven by this unquenchable thirst. The self must survive in two ways: as a unit and as part of a group. Resultantly, altruism and selflessness do not exist. Instead all behaviour is a means of communicating one's needs in a circumstance. To prompt a response. Furthermore, behavior is absolutely reciprocal and so all actions are meant to induce a reaction.

Q pauses to move some paper on his desk about.

Q

To be human is to be a vessel that only knows its own consciousness, trapped until death extinguishes the light. To be human is to have a self, to experience, to communicate and maybe just to exist. By standard definition, to exists means everything and nothing, an intangible idea, unobservable, lost in an infinite sea. On a scale of characteristics, observable, quantifiable or thinkable, all a human is, all anything that exists is, is plotted at the very midpoint of a scale of comparison, infinity away from the greatest positive and infinity away from the greatest negative.

The bedroom door creaks as it opens a crack. Q looks over his shoulder.

The door clicks shut.

Q looks back toward the camera, shaking his head.

Q

What I've come to understand is a model of the universe, or at least a way of perceiving it, that can show what it means, beyond perception, to exist in a true reality. Currently, as humans, a true reality is what you see when your eyes are closed. An intangible nothing.

Q creates a ball with his fingers then claps his hands together.

Q

However, nothing, by