2001 A Blogging Odyssey

I show no shame in ripping off the title of one of my favorite movies and using it for my own.  But given this is post number 2001, what else am I gonna say?

How about “I finished scene two last night?”  Yeah, that’s a nice thing to say.  It saw me returning to form a little as I wrote eight hundred and sixty-eight words, and that’s close to nine hundred, and that’s almost a thousand, so maybe I’m starting to get back into the swing.  Maybe.  I have a TV recap to do tonight, so I’ll likely not get into the third scene until early Saturday morning.

Still, though, I finished this scene.

It only took four days, but I got it done.

It only took four days, but I got it done.

This scene is the flashback.  This is where we see what happens after those five words are spoken at the end of B For Bewitching, and some have waited–well, weeks, to discover what happened next.

And instead of talking about that, why not show it?

 

(The following excerpts from The Foundation Chronicles, Book Three: C For Continuing, copyright 2016 by Cassidy Frazee)

“Mom, Dad . . . I’m a witch.”

Kerry sat in silence for a few seconds waiting for the response he knew was coming. For the last month, since the night of the lighting of the Beltane bonfires, he’d played this scene out in mind, knowing what he was going to say and imagining what his parent would do and say. He’d expected them to appear shocked and find his comment ludicrous, to even wonder if he as suffering from a mental disorder.

He imagined the worst.

He did not expect for them to sit and stare at him in silence.

His eyes shifted from her father to his mother. “Guys?”

Louise Malibey was the first to break the silence. “What do you mean?”

“I mean, I’m a witch.” He glanced at Ms. Rutherford on his right, who nodded for him to continue. “I can do magic.”

His father, Davyn Malibey, cleared his throat. “You mean like what Davie Blane does?”

“No, dad—” Kerry shook his head. “He’s an illusionist. I’m a real witch: I do real magic.”

“I just don’t understand—” Louise’s appearance had moved from confused to one that was bordering on annoyed. She turned her attention to Ms. Rutherford. “I though this was about something important?”

Ms. Rutherford raised a skeptical eyebrow. “This is important, Mrs. Malibey. This is your son’s life we’re discussing.”

“Are you—?”

Davyn held up a hand before his wife could say anything further. “If this was true, shouldn’t you be a wizard?”

“No, Dad.” Kerry sat back, now a bit relaxed. “That’s a word a bunch of dudes made up a few hundred years back because they didn’t want to share the same designation with women. As far as practitioners of The Art—that’s how you really refer to magic—as far as they’re concerned, you’re a witch whether your a girl or a boy. Same with sorceresses: it’s the same word for either gender.”

“Sorceresses?”

Ms. Rutherford picked up on the manifesting tone in Louise’s voice, and felt having Kerry give as much information as quickly as possible to be the best course of action. “Kerry, why don’t you tell your parents what you actually do at school.”

 

Yeah, Kerry, why don’t you rush over all the black magic shit and tell them about the school work your parents haven’t asked you about all the other times they could have asked you.  You have to figure that Kerry knew this was going to be a bit difficult to get his parents to understand, given they’ve shown zero interest in his school work up to this point, so it’s a a bit of an uphill battle for him.

Do his parents want to hear about classes?  Believe it or not–

 

“Yes—” Louise’s voice had suddenly become far move restrained. “I’d like to hear this.”

“I’m certain of this.” Ms. Rutherford turned to her charge. “Kerry?”

Davyn spoke up while Louise sat quietly. “Yes, what do you do, son?”

“Well—” He ran his hand over his thighs as he leaned forward. “I’ve taken history, math—um, algebra and geometry—basic and earth science as well as botany. I’ve had two years of astronomy where we’ve learned more math. And we’ve taken self defense classes, too: I’m actually taking the advanced class, and probably will until almost the end of school.

“But the real reason I’m there is to learn how to craft magic. I’ve taken classes in normal spells, in Formulistic Magic—that’s really chemistry with magic—in transformation magic, and in sorcery. And in those first three, those are a few of the advanced classes I’m in. I also get special tutoring in sorcery, and I tutor someone in transformation magic.”

Kerry moved on quickly so he didn’t have to explain the special tutoring situation. “I’ve also learned how to apply magic to what I learned in botany and in my self defense class, so it’s possible to change things there with a bit of crafting.

“Also, I fly. I’ve taken two years of flying, and I’ll start my third when I return—”

“Flying?” Louis seemed puzzled by her son’s comment.

“Yeah, Mom: flying.”

“With what?”

“With a broom.”

Both parents were surprised by this, though Louise was able to respond the quickest. “A broom? Like a witches broom.”

Kerry shrugged. “Well—”

Davyn found his voice. “Like a Harry Potter broom?”

“No, nothing like that. These are—” He moved his hands about like he was grabbing the words out of the air. “It’s like most of a bicycle frame without the wheels. It’s made out of carbon filament, and there’s a seat and a control HUD like you have—”

“Stop. Just stop it.”

 

Well, that certainly sounds like it’s gonna be good.

This part is gonna get farmed out over the next three days, because it can.  About a third of it is down today, and the last part of this get blogged out on Sunday, which gives me time to write more on Saturday and Sunday.  It’s my hope I can always stay a few days ahead of the post so that, when it’s time to put a post out, I have something to excerpt.

In the meantime I’m probably gonna Gish Gallop out a bunch of recaps that I’ve written in the last few weeks, just because I can, and it’ll get me caught up on the stuff I normally reblog anyway.  Look for that stuff to start blowing up in your email box today.

Needless to day, the next few days are gonna get interesting . . .

Bimillennium

You waited and waited, and here it is:  post Number 2000.  So of course it’ll be called what it’s called, because that’s what you get when you have two of a thousand, yeah?

But this the real deal:  two thousand posted, most of which were written with maybe a few dozen reblogged.  I’ll take that, because most of those reblogs were mine, and after tomorrow’s post–which is gonna be a play on another famous title–I’ll do a Gish Gallop on stuff that I’ve written but not reblogged, which are mostly my recaps over on The Snarking Dead.

But you didn’t come here to read about that, right?  No, there’s something else here–

"Oh, look:  Cassidy finally decided to treat us to her work.  About time."

“Oh, look: Cassidy finally decided to treat us to her new work. About time.”

 

That’s the real reason, for today C For Continuing starts excerpting, and at the rate I’m writing I’ll run out of things to excerpt in a few days, because I was only able to write another five hundred words last night.  Don’t worry:  I’ll get into gear.  I promise.  There’s a thousand word night in me somewhere.  Which I’m gonna need because right now my average is well below what I normally do.

But enough of that.  Since everyone waited I figured I’ll throw all of the first scene out for you to read and try to sate your appetites.  Here it, first draft as always, and right off the bat you get into what’s most important at this point in my kids’ story . . .

 

(The following excerpts from The Foundation Chronicles, Book Three: C For Continuing, copyright 2016 by Cassidy Frazee)

What bothered Annie Kirilova the most this morning was the weather. She had hoped for a bright sunshine, but what she received instead was light rain and low cloud cover. The rain also had the temperatures hovering in the low teens Celsius, which kept her out of shorts and forced her into leggings to wear with her long, flowing top and black ballet flats.

Given what was going to happen, she wondered if the weather reflected he mood.

Standing before the large windows of her lake house, she saw that her tree was certainly reading her feelings. The leaves were a bright yellow when she arrived thirty minutes earlier, and now they were a muddy gold. It feels my concern: it knows this. Her mother had seen it as well, when Annie entered the kitchen as she came down the spiral staircase from her bedroom. While Annie was an expert at hiding her emotions, the last few years saw her mother becoming more adapt at picking up on them. She knew the reason why: puberty was having an effect upon her, and while it remained possible to keep her feelings invisible, strong emotions had a way of leaking through the outer façade.

And Annie’s emotions were growing stronger every day.

She turned away from the window sighing and checked the clock in the kitchen: 08:59. Annie wondered if her guest would actually turn up in the next minute as she was told that this particular person had a habit for punctuality—

The LEDs switched over to 09:00. Annie held her breath as she moved towards the dining table.

A few seconds later a shadow passed across the windows followed by a knock at the main entrance. Annie turned and nearly smiled. The stories are true, it seem. She hurried over and opened the door for her guest. “Won’t you come in, please?”

“Thank you, Annie.” Berniece Rutherford entered and paused for a moment as she examined the large, open space. She wore a light jacket over her tee shirt this Sunday morning, and her jeans and sneakers indicated she was anticipating a relaxing day. “So this is the lake house.”

“Yes, it is. I hope you like it.” Annie wondered how much Ms. Rutherford knew about this place. She was aware that as Kerry’s case worker it was necessary for her to receive numerous concerning things that happened to Kerry at school, and it was likely she’d read at least one report on their shared wedding vision—a fact of which she was certain the moment she noticed the young woman’s eyes lock upon the sleep loft in the back. She has to know everything.

Annie stepped closer to her guests and held out her hand. “May I take your jacket and purse?”

“You can hang up my jacket; I’ll keep my purse with me.” She shrugged out of it and stepped a couple of meters away from the door. “Are we sitting at the table or by the fireplace?”

Annie finished hanging the jacket. “By the fireplace, please. Would you like tea? I put a kettle on in anticipation.”

Berniece chuckled. “I would love some. Do you have breakfast tea?”

“Yes. Loose leaf.”

“You are ready. That would be fine.”

Annie gave a cut nod then went to the kitchen area to retrieve the kettle and prepare the infuser. She set both on a tray along with a cup and saucer and carried them over to where Bernice sat. Annie waved her hand over the kettle, which began steaming almost immediately, then slowly poured the tea cup just over three quarters full. “I understand you like milk in yours—would you care for some?”

“Yes, please.”

Annie levitated a small pitcher all the way from the kitchen and gently retrieved it in mid-air. Only after pouring in a small amount of milk did she offer the tea to her guest. “Here you are.”

“Thank you, Annie.” Berniece looked up, smiling. “You are quite the host.”

“Mama impressed upon me that we should always make our guests comfortable when they visit.”

Bernice watched the steam rising from the liquid’s surface. “Must have been a little tricky timing this coming to a boil right before my arrival.”

“No, it wasn’t.” Annie sat in the leather easy chair across the coffee table from the case worker. “I brought it to a boil maybe fifteen minutes ago, then placed a small time spell around the kettle to put it in stasis. As far as the contents of the kettle were concerned, maybe five seconds had passed before I removed the spell.”

Berniece gave an approving grin. “Did you learn that on your own?”

“No, Kerry taught me.”

“So your Time Lord is teaching you those spells. I guess you’ll be a Time Lady soon.”

Annie managed a slight smile at the reference while inwardly she groaned. In the last few months of their B Levels Kerry had become quite adept at quickly crafting a selection of time spells of all sizes, and had begun using them to speed up reactions in Advanced Formulistic Magic. Because of this ability, however, Erywin—who was as much a pop culture geek as her soul mate—began calling him the “Salem Time Lord” and openly joked that it wouldn’t be long before Annie joined him as a Time Lady.

She must have included that bit in one of her reports. Annie wasn’t sure if she should feel honored that Erywin was observant enough to take time to acknowledge these abilities publicly, of annoyed that she allowed her private jokes into official documents.

Annie decided to move away from any discussion of her ability with time crafting. “Is it raining in London as well?”

Berniece shook her head. “No, but it’s about the same temperature-wise.”

“Did you have trouble getting here?”

“Not a all. I took you advice: jaunted London to Sofia, had them jaunt me to Pamporovo, then hired a car to your house. Your mother didn’t seem at all surprised when I pulled up.”

Annie shook her head. “No. I’d told her you were coming. Did you walk down from the main house?”

“You mother jaunted me to the deck stairs. I think she felt it necessary that she not be seen.” Berniece sipped her tea. “Umm—that’s perfect.”

Annie settled back in her chair and tried not to be obvious about taking a deep breath before continuing. She felt there had been enough small talk already, and she wanted to get into the reason why she’d asked Ms. Rutherford here two weeks earlier. “If you wouldn’t mind—”

Berniece sensed Annie’s eagerness to start. “No, not at all.”

Annie crossed her legs. “How did it go?”

Berniece held her cup and saucer of tea steady in her lap. “It went about as well as I expected—”

 

Those last remarks should be familiar—

 

FADE IN:

INT. LAKE HOUSE INTERIOR — DAY

The camera centers on ANNIE KIRILOVA sitting in a large chair. She’s dressed casually and for the summer. She addresses someone sitting off-screen across from her.

ANNIE (IN ENGLISH)
How did it go?

QUICK CUT:
Sitting in another large chair across from Annie BERNIECE RUTHERFORD steadies her cup and saucer in her lap. She dressed causally in jeans and a pullover top, ready for summer.

BERNIECE
About as well as I expected.

 

—with just a bit of editing on Bernice’s line, because you can’t always get everything you want in a trailer, can you?

With the first scene coming on their return from school for the summer, and with me saying the next scene is a flashback, that mean what comes next must have to do with the other have of the Lovey Dovey Couples, otherwise why is Ms. Rutherford there?

I guess this means you get to begin seeing what happened to Kerry tomorrow–

Workin’ Like It’s 1999

As I like to say, this is the penultimate post to the last–but wait:  tomorrow isn’t the last post I’ll write.  Far from that.  It’s just that tomorrow’s post is kind of a big deal, so to say I’m a little excited is an understatement.

"I never thought I'd get here. But I'm always thinking that."

“I never thought I’d get here. But I’m always thinking that.”

So I’m a little over two thousand words into the next novel, which doesn’t sound like a lot, but give it time, I’ll get there.  Not to mention that this weekend is supposed to be hotter that hell and I’ll likely be staying in a lot, so I’m going to set Sunday as a day to write and not a day to fool around watching Netflix.  Because there is stuff I need to get down in the Word Bank, and that’s as good a day as any.

So what to talk about today?  Um, how about bra fittings?

I know, strange subject, but then I get my readers going off in the direction, like yesterday.  Renxkyoko and I were discussing yesterday’s post, and we got off on the subject of “Kerry after the Change” because I made a comment about what sort of panties Girl Kerry will want to wear, and from there I made the comment that she’ll also need a bra fitting, and . . . yeah, there’s a lot of things about this transition that, in time, will likely need to be addressed.  I mean, we’ve seen Annie fly more than once, so the odds are good we’ll see Kerry transition more than once, too.

But will happen in this novel?  Um . . . probably not.  Or maybe it will.  Where would they go?  Forever 21?  Has Annie ever set foot inside a Forever 21?  Probably not.  Not when she’s getting her purses and wallets from the Louis Vuitton store in Paris, so you can imagine–as we already have–that Annie has some high standards when it comes to her threads.  Which means she’s likely to be just as picky about someone else’s threads as hers.  “It’s not a problem, Annie.  I can pick up some jeans at JC Penney’s and–”  And Annie lets out a shriek of horror at the idea ’cause she’s knows a Levi’s store on the Rue Saint-Lazare, and she tells Kerry that’s where we’re going . . .

And for a little reality, I have shopped at that Levi’s store on Rue Saint-Lazare, back in 2006.  I didn’t buy jeans, but my SO did, and she reminded me that European and Asian fits are so much better than American ones.  I’m sure Annie thinks the same, which is probably why she almost never buys clothes in the US.  Then again, she’s a princess–what did you expect?

But all that’s way off in the future, maybe a year, maybe two away.  As of right now I just have to worry about tomorrow, and the writing that comes tonight.  Honestly, it’s this part that makes it all worth while.  The stress, the pain, being tired, feeling like I’m not making anything worth while.  It all goes away once people start seeing the goods.

Let’s see if I still feel that way in a year.

The Production Push

You know the drill:  this is the point in the story where I come in and say “Last night I–” and then continue with a discussion of what I wrote.  But it’s also been a time of some complaining an excuse making as well, and that’s leaving me a bit discouraged even more than digging on the excitement of writing another novel.

When I returned from work I needed to decompress, so I sat and watched a movie.  Then I headed down the street to get something to eat because I was hungry and there isn’t a thing in the apartment.  Then when I came back I set up to write and found a few distractions to pull me in before I actually really truly got down to the business of writing.

And it was horrible.

It was something of a draining day at work, and I tried to bounce back from the experience as much as possible, but damn if I wasn’t so tired last night.  The energy simply wasn’t there, and I found myself not only lagging in writing, but having  trouble keeping what I wanted to say in my head long enough to get it out for saying.

The hardest part were my fingers, as in, “My fingers wouldn’t do what I wanted them to do.”  Between the new keyboard and the long nails I’ve had to figure out a whole new way of typing, and it hasn’t always been the best way.  I’m used to hitting the keys with the tops of my fingers, but due to having longer nails than I’ve ever had in my life, I now need to flatten my hands out and strike the keys with a combination of my finger pads and the nails, and I don’t always do a great job with that.  I’m also used to the old keyboards where the keys press right up against each other, and these new keyboards with the spaces between them drive me crazy after a while.

And crazy means I get frustrated.  I don’t type as fast as I once did, and haven’t to go back and fix things all the time wears you down.  I’m sue I’ll get used to this–I’m almost there now–but after three months I find myself not striking keys with enough force to get them do make a mark, and I don’t like it, not one bit.

But most of all I’m tired a lot at night, and that affects everything.

"I've written a little bit here, so . . . just a quick nap and I'm ready to go again.  I think.  Zzzzzzz."

“No, really:  I’m fine.  I just need to . . . zzzzzzzzzz.”

Someone last night said my post are like having a conversation, and I’ve always tried to do that when writing.  Only the five hundred and thirty words I wrote last night came out as one of the most stilted conversations I’ve ever held, and by the time I reached a point where I felt I needed to stop, much of the reason revolved around just feeling as if I couldn’t continue any more.

I was simply fed up.

I am in need of really getting my shit together on this book and get set up some proper times to write–

Or it’s gonna be a long novel.

Change as Change Be

Was there writing?  Yeah, a little.  Before I did that I had a long, relaxing lunch with a few glasses of wine:

Here I'm trying out for the part of the new queen of King's Landing.

Here I’m trying out for the part of the new queen of King’s Landing.

Then came home and watched some TV and took a nap.  Then I got up and started getting my images for tomorrow’s Sense8 recap, and it was only after all that was out of the way that I started writing.

The thing is, I didn’t get much written:  about three hundred and ten words and not much more.  After I started writing I began having this running conversation with myself about whether or not I was saying things right.  So I spent time walking about the apartment trying out lines, trying out feelings, trying to figure out if what I wanted to write was what I wanted to write.

I do this a lot:  I will “act out” what I want to write, taking on the parts of the characters who are going down in that part of the story and figure out if it feels good and sounds like it’s legitimate.  I’ve been doing this for years:  when I used to live in Indiana and I spent the weekends driving to and from Indianapolis, I’d use the time in the car to work out scenes by “being” my characters.  And one of those scenes I worked out?  The meeting of the Brain Trust when they were first going over the footage of Kerry’s gender switching lab work before they figured out there was more at work than just simply transformation magic.

I work on that back in the late summer of 2012, which should give you an idea about how much time I sometimes spend on these things.

But the second scene began, and it started out with five simple words:

 

“Mom, Dad . . . I’m a witch.”

 

If you read the metadata synopsis next to the scene title, probably figured out that this is the scene that picks up right after the uttering of those same words at the end of B For Bewitching.  That, of course, makes this scene a flashback, the first one in the series, and it means we’re back with The Malibeys and their child who’s never done anything special in their life.  Oh, Mom and Dad Malibey, are you about to eat those freakin’ words.

It was during the moments when I was working out things that I realized I’d forgotten a scene for Chapter One–I told you this would happen, didn’t I?  If Scene Two is a flashback, and Scene one is obviously the setup, then where’s the payoff?  Still in my head, right?  Duh.  If so, I needed to get it out, and with that–

I did.

I did.

Now after the little drama plays out in the Second Home By the Sea–hey, that would make a great song title, wouldn’t it?–we get to snap back to Pamporovo to find out if there is follow up to the flashback.  And it’s likely as I go along through the story I’ll need to do this here and there, because I’m only human:  I can’t get all my plotting right the first time around.

What really matters is that I get it right in the end.

Embarking Upon New Adventures in Storytelling

Yesterday was as big day in a many ways.  I put out the trailer, started the novel, and drove down to Maryland to spend time celebrating a friend’s birthday.  We had lunch and ice cream, she went shopping at Tiffany and picked up a bracelet–and the sales woman joke with me that I could always come to their new “Breakfast at Tiffany’s” meeting where couples can pick out engagement rings, which will probably never happen to be because I’ll likely never be engaged again–and finished it off with a visit to Build-a-Bear, where I picked up a new friend–

Who joins another friend that was made for me last year.

Who joins another friend that was made for me last year.

Since I was given a “Mother of Dragons” tee shirt to wear, it goes without saying that I needed a dragon–and Toothless is one of the best.

See?  Cuddly little dragon.

See? Cuddly little dragon.

It was a fairly full day that I finished off with watching a few Walking Dead episodes and writing a little more–

Wait?  Did I say writing?

Yes, I did.  Like I said I started the new novel yesterday, and I ended the evening by finishing up the first five hundred words.  And today, down here at the Little Amps coffee shop, I finished the scene of Chapter One with a six hundred and forty word effort.

Proof I'm down writing.

Proof I’m down writing.

 

And proof I did the writing.

And proof I did the writing.

If you’re scanning ahead you’re probably saying to yourself, “But where’s the excerpt, Cassie?  I don’t see anything.  Are you gaslighting us?”  Nope, no gaslighting at all, ’cause that’s a dick move–though if I try to convince you that you’re an android with implanted human memories, that’s considered a Philip K. Dick move and it’s totally okay.

No, the real reason is that this is post number 1,996, and I said earlier that I wouldn’t present the first excerpts until post number 2,000, which comes this Thursday, 21 July, also known as the day we first walked on the moon.  Sorry, then, but you’re going to have to wait–though if you’ve read the trailer script, you’ve seen something that happens in this first scene.

With this writing I’m past my first thousand words, which means I probably have 349,000 to go.  No problem, right?  This is why I’m considering doing NaNoWriMo again this year, for if it could help be add another fifty thousand words in the span of a month, that goes a long ways toward cutting a month and a half of writing off my time.  Doing this twice during the first novel helped a great deal, and if I’d done it last year, it’s likely I would have finished the second novel in early May.

It really comes down to exactly how much stress I’m willing to put upon myself to make that fifty thousand word goal.  Sure, I’ve heard of people claiming they’ve finished NaNoWriMo in as little as two days, but that’s not me–not to mention whatever those people got down on paper probably looks like the rantings of someone deep in an ether binge, and that’s not me either.  Usually.

We’ll see what I decide come October.  Meanwhile, it’s simply a matter of getting in five hundred words here, a thousand here–

And before you know it, I’m talking a real novel.

Presenting the C to See

Greetings, and wouldn’t you know it, I have a video for you.  Enjoy the experience.

 

 

(The following excerpts from The Foundation Chronicles, Book Three: C For Continuing, copyright 2016 by Cassidy Frazee)

 

FADE IN:

INT. LAKE HOUSE INTERIOR — DAY

The camera centers on ANNIE KIRILOVA sitting in a large chair. She’s dressed casually and for the summer. She addresses someone sitting off-screen across from her.

ANNIE (IN ENGLISH)
How did it go?

QUICK CUT:
Sitting in another large chair across from Annie BERNIECE RUTHERFORD steadies her cup and saucer in her lap. She dressed causally in jeans and a pullover top, ready for summer.

BERNIECE
About as well as I expected.

SMASH CUT:

BLACK SCREEN

The song Lost by Coldplay begins playing.

DISSOLVE TO:

INT. STAIRS — DAY

ANGLE ON — KERRY

KERRY MALIBEY stands at the top of a flight of stairs looking down at the landing below. He’s also dressed for summer in black jeans and a tee shirt, but he doesn’t look happy. (NOTE: At no time in the trailer is Kerry seen wearing glasses.)

DISSOLVE TO:

INT. KITCHEN — DAY

ANGLE ON — KERRY

Kerry stand in the middle of a kitchen looking dejected.

DISSOLVE TO:

EXT. FOREST — DAY

Wearing his flight jacket, jeans, and boots, Kerry walks along a path with a girl. This is PENNY RIGMAN, who is also wearing a flight jacket, jeans, and boots.

ANGLE ON — PENNY FROM RIGHT SIDE, TRACKING

PENNY
You just have to let things work themselves out.

KERRY
What if they don’t?

PENNY (SHRUGGING)
They usually do.

QUICK CUT:

EXT. CITY PARK — DAY

Annie stands facing ALEXANDRIA CHORNEY. It is still summer, and both girls are dressed in light summer outfits: Annie in a light dress, Alexandria in leggings and a long top over which she wears a leather flight jacket.

ANGLE ON — ANNIE

ANNIE (IN ENGLISH)
It’s difficult for me to understand.

ALEXANDRIA (IN ENGLISH)
You’ve never had a Normal life, not like us: magic has been there from before you were born.

INTERCUT TO:

EXT. MIDAIR — DAY

Kerry hovers on his broom on a bright day dressed in his heavy winter flying garb. He is not near the ocean and what can be seen of the land shows snow covered land below. There isn’t anyone else around: he is alone.

ALEXANDRIA (V. O ENGLISH.)
You’d understand things better if you were like us.

QUICK CUT:

INT. DINING ROOM MALIBEY HOME — DAY

Kerry stands on one side of the family dining table: across from him stands LOUISE MALIBEY, his mother.

ANGLE ON — LOUISE

LOUISE
You said you take advanced classes—in what?

KERRY
Regular spells, Formulistic Magic, Transformation—

LOUISE
Do you know spells that will hurt people?

KERRY (PENSIVE)
Mom . . .

QUICK CUT:

EXT. LONDON — DAY

Annie and Kerry, both dressed for summer, stand near the banks of the Thames having a discussion.

KERRY
I have to prove to them I’m not dangerous.

ANNIE
I don’t know why they are afraid of you—

KERRY (WAVING ARMS)
Half these people here would freak if they knew what we could do—

QUICK CUT:

INT. SALEM CLASSROOM — NIGHT

Kerry stand in the middle of a room facing Annie and four other students. WEDNESDAY DOUGLAS pulls her arm back for an underarm toss a ball to him: her motion slows perceptually as the ball, Wednesday, and the other students seem to crawl.

QUICK CUT:

INT. SALEM CLASSROOM — DAY

Annie, dressed in a loose, back top with loose sleeves, reaches towards a nearby wall and draws her hand through the air in a straight line. The shadows coalesce until she has a ribbon about a meter long. She pulls it way and gives it a sharp twitch, lengthening it by another meter so that it looks like a whip.

QUICK CUT:

EXT. LONDON — DAY

ANNIE (SOFTLY, HUGGING KERRY)
Now I know why Mama told me not to do magic in public.

QUICK CUT:

INT. DINING ROOM MALIBEY HOME — DAY

ANGLE ON — LOUISE

LOUISE
Kerry?

DISSOLVE TO:

Generic music begins playing as:

EXT. SMALL HOTEL — DAY

BERNIECE (V.O.)
It’s time we leave for Paris—

QUICK CUT:

INT. HOTEL LOBBY — DAY

ANGLE ON — ANNIE

She stands in the lobby with a smile on her face.

BERNIECE (V.O.)
There’s someone waiting for you.

DISSOLVE TO:

INTERCUT ANNIE AND KERRY IN PARIS

A couple of quick scenes showing them traveling around the city on their own, with at least one showing them greeting Penny and Alex.

DISSOLVE TO:

EXT. TOP OBSERVATION DECK EIFFEL TOWER — NIGHT

Kerry holds Annie tight as they look out over the city in darkness.

ANGLE ON — ANNIE IN KERRY’S ARMS

ANNIE
This is not going to be an easy year.

QUICK CUT:

EXT. SALEM RACE COURSE — DAY

Two racers are broom to broom, one wearing green piping on their uniform and helmet, the other purple. The purple racer side-bumps into the green racer at speed: the green racer punches back with their left arm.

QUICK CUT:

INT. DARK HALLWAY

Annie ducks as against a wall as a nearby door blows open and nearly off its hinges as a visible shock wave stirs up dust and debris.

QUICK CUT:

EXT. TOP OBSERVATION DECK EIFFEL TOWER — NIGHT

ANGLE ON — ANNIE IN KERRY’S ARMS

KERRY (CHUCKLING DARKLY)
You think?

QUICK CUT:

INT. SALEM JAUNT STATION — NIGHT

ANGLE ON — PLATFORM

A group of students pop into existence, all of them with luggage. Annie and Kerry are in the front.

QUICK CUT:

INT. SALEM JAUNT STATION — NIGHT

ISIS MOSSMAN and Wednesday Douglas stand by the control station.

ISIS (SMILING)
Welcome back. Did you miss us?

SMASH CUT:

INT. CERNUNNOS COVER TOWER — NIGHT

Annie and Kerry stand in the open area of the second floor. The opening chords of the Moody Blues’ Lovely to See You Again My Friends begins as five students step out of the stairwell and face them.

ANNIE
Welcome to your new homes.

QUICK CUT:

INT. CHEMICAL LAB TESLA CENTER — DAY

ERYWIN SLADEN leads a group of her advanced students into a room filed with tanks and pipes. Annie and Kerry look around as Erywin points to stations along the walls.

ANGLE ON — ERYWIN

ERYWIN
Find your cubical; the sooner you do, the sooner we can get to making magic.

QUICK CUT:

INT. FLIGHT SCHOOL READY ROOM — DAY

VICTORIA SALOMON stands at the podium before a dozen or so students in casual street clothes. EMMA NIELSON and Kerry sit in the front row to Victoria’s left.

ANGLE ON — VICTORIA

VICTORIA
The most important goal you have this year—

ANGLE ON — EMMA AND KERRY

VICTORIA (O.S.)
—is to prepare yourself for the Polar Express.

QUICK CUT:

INT. MEMORY’S END CLASS — DAY

DEANNA ARRAKIS deftly glides between her students, who are all sitting on pillows on the floor.

ANGLE ON — DEANNA

DEANNA
The majority of you will not move on to advanced studies in your next level—and that’s okay, because only a few of you will recognize your abilities and know how to use them.

QUICK CUT:

INT. THE WITCH HOUSE CLASS ROOM — DAY

HELENA LOVECRAFT looks over her room full of students.

CAMERA POV — ABOVE AND BEHIND HELENA LOOKING AT CLASS

HELENA
If I’m going to make you into sorceresses—

DISSOLVE TO:

Annie and Kerry stand off to one side of the room, staring at Helena.

ANGLE ON — ANNIE AND KERRY

HELENA
I’m going to employ the best minion here to help you.

The music turns to a darker orchestral tone as:

QUICK CUT:

INT. THE GREAT HALL ROTUNDA — NIGHT

LISA GLISSANDI stands with a few people around her.

ANGLE ON — LISA

LISA
You’re a freak, Malibey!

QUICK CUT:

INT. THE HOSPITAL ICU.

Kerry laying in bed and staring at the ceiling. His shirt is off and the glowing monitor runes are visible in the center of his chest.

PULL BACK — ICU BAY

Annie is laying a bed next to his, her monitor peeking out from under her black cami. Coraline is between them focused on equipment.

LISA (V. O.)
You’re nothing but a stupid freak!

DISSOLVE TO:

Kerry sitting on the edge of his bed.

ANGLE ON — KERRY

KERRY
When is this going to be over?

QUICK CUT:

Coraline and Annie are standing next to each other.

ANGLE ON — CORALINE AND ANNIE

CORALINE
It’s only been six months since the dream—it could take another six months for things to happen.

ANGLE ON — KERRY

KERRY
I can’t wait that long; I want to get back to something like a normal life.

ANGLE ON — CORALINE

CORALINE
I’m afraid you don’t have a say in the matter, Red.

QUICK CUT:

INT. HEADMISTRESS’ OFFICE — DAY

Coraline sits in front of the desk of Headmistress MATHILDE LAVENTURE. Erywin and Deanna are also in the office, sitting together off to one side.

ANGLE ON — MATHILDE

CORALINE (O.S.)
We’re going have to deal with this situation likely sooner than later.

ANGLE ON — CORALINE

CORALINE
Everything that’s happening with Kerry—

DISSOLVE TO:

INT. THE GREAT HALL ROTUNDA — DAY

Kerry walking away from several boys.

ANGLE ON — KERRY

KERRY
Will you idiots just leave me alone?

QUICK CUT:

INT. HEADMISTRESS’ OFFICE — DAY

ANGLE ON — CORALINE

CORALINE
It’s affecting Annie’s mood as well.

DISSOLVE TO:

INT. THE WITCH HOUSE

Annie in a semi-dark room training with Helena. The instructor does not look pleased.

ANGLE ON — HELENA

HELENA
The door’s over there! Any time you want you can walk right the hell out!

ANGLE ON — ANNIE

Annie looks down and away, upset.

HELENA (O.S.)
I won’t stop you!

QUICK CUT:

INT. HEADMISTRESS’ OFFICE — DAY

ANGLE ON — ERYWIN

ERYWIN
Some of it is our doing—

QUICK CUT:

INT. MEMORY’S END CLASS ROOM — DAY

Deanna claps her hands, causing both Annie and Kerry to look her way.

ANGLE ON — DEANNA

DEANNA
You both need to concentrate—I know you can do this—

ANGLE ON — ANNIE AND KERRY

Both children look frustrated and a bit frazzled.

QUICK CUT:

INT. GWYDION MANOR CLASS ROOM — DAY

Dressed in black martial arts uniforms, Annie and Kerry take on an unknown number of assailants who appear to be putrefied homunculi slightly large than them, though they move quickly.

ANGLE ON — ANNIE

She wraps a shadow whip around the neck of one homunculi and jerks it off-balance, while she uses her empty live hand to block the swipe of another homunculi before delivering a devastating blow to its chest, driving it backwards.

ANGLE ON — KERRY

Kerry performs a side kick to one homunculus’ calf before sweeping the back of the knee, knocking it down before arm locking another homunculus before punching it hard in the throat.

QUICK CUT:

INT. HEADMISTRESS’ OFFICE — DAY

ANGLE ON — DEANNA

DEANNA
And some of it comes from what’s already happening—

QUICK CUT:

INT. KERRY’S DORM — DAY

Kerry is in his pajamas, on his feet and yelling at his computer.

ANGLE ON — KERRY

KERRY
Why don’t you tell me the truth?

QUICK CUT:

INT. HEADMISTRESS’ OFFICE — DAY

ANGLE ON — MATHILDE

MATHILDE
What are you telling me?

ANGLE ON — CORALINE

CORALINE
They’re both tired and stressed out, as well as being under a tremendous amount of pressure—

QUICK CUT:

INT. C LEVEL TRANSFORMATION CLASS

FRANKY SMITH is giving a disgusted look.

ANGLE ON — FRANKY

FRANKY
You’re both a couple of show offs; freakin’ teacher’s pets.

POV ACROSS ANNIE AND KERRY LOOKING SLIGHTLY MAD

Lisa smirks as she speaks.

ANGLE ON — LISA

LISA
You have no lives: you’re worthless

QUICK CUT:

INT. PRIVATE LAB AT CERNUNNOS TOWER

POV ACROSS TABLE AT ANNIE AND KERRY

They stand looking at each other speaking with raised voices.

KERRY
I’m sick of this crap!

ANGLE ON — ANNIE

ANNIE
Do you think I enjoy this as well?

QUICK CUT:

INT. HEADMISTRESS’ OFFICE — DAY

ANGLE ON — CORALINE

CORALINE
They’re both on edge, and what worries me is that some—thing—is gonna come along and push them right over.

QUICK CUT:

INT. HEADMISTRESS’ OFFICE — NIGHT

Helena walks into the office to find Mathilde as well as another woman: CAROL COLLINS, a young Chinese woman dressed in a fashionable business suit.

ANGLE ON — CAROL

MATHILDE (O.S.)
I believe you already know each other—

Helena shakes Carol’s hand.

ANGLE ON — HELENA

HELENA
Yeah: back some time ago.

Both the headmistress and Helena are sitting while Carol remains standing. She hands a tablet to Mathilde

ANGLE ON — CAROL

CAROL
This is an official notification that Annie Kirilova are Kerry Malibey are being summoned to the San Francisco office so they may participate in a Guardian Behavior and Training Session.

She turns to Helena.

CAROL
Remind them as this is a BTS they cannot invoke a Right of Refusal.

SMASH CUT:

INT. EAST TRANSEPT HALL — NIGHT

Helena and Carol face each other and speak in hushed tones.

ANGLE ON — HELENA

HELENA
They’re dealing with a lot of issues right now: it’s not a good time.

ANGLE ON — CAROL

CAROL
When is there ever a good time for a BTS?

ANGLE ON — HELENA

HELENA
I implore you to reconsider this decision—

SMASH CUT:

INT. HEADMISTRESS’ OFFICE — DAY

ANGLE ON — CORALINE

CORALINE
That could trigger them—

SMASH CUT:

INT. EAST TRANSEPT HALL — NIGHT

ANGLE ON — HELENA

CAROL (O.S.)
What makes you think you have any say in this matter?

ANGLE ON — CAROL

CAROL
The decision is out of your hands.

SMASH CUT:

INT. HEADMISTRESS’ OFFICE — DAY

ANGLE ON — CORALINE

CORALINE
And if that happens, I wouldn’t want to be around them.

SMASH CUT:

INT. SPELL CENTER LIBRARY — DAY

ANGLE ON — EMMA

She turns around and finds Annie standing in the doorway. The little sorceress does not look happy.

ANGLE ON — ANNIE

ANNIE
Emma . . . let’s talk.

Without making a move the double doors of the library slam closed behind her.

SMASH CUT:

BLACK SCREEN

The opening synthesizer riff of M83’s Midnight City begins playing.

SLOW FADE TO:

EXT. FORREST CLEARING — DAY

PULL BACK AND OVERHEAD — ANNIE AND KERRY

Both are dressed in black jumpsuits that appear to be make of supple leather and are wearing military-style hiking boots. As the POV reached the zenith both being walking forward down a path and enter a thick forest.

QUICK CUT:

EXT. ARCTIC TUNDRA — DAY

PAN CAMERA SLOW ZOOM — POV KERRY

Dressed in white arctic gear Kerry stares off to the west at the dim glow of the setting sun. As he turns to his right he sees the first flickers of the aurora borealis in the darkening sky as the camera shows Emma a few meters away and their campsite behind her.

QUICK CUT:

EXT. FORREST CLEARING — DAY

Annie lays on her back on the ground screaming as Kerry slides up to her, a panicked look upon his face.

SMASH CUT:

BLACK SCREEN — TITLE CARD

At This Level

SMASH CUT:

INT. GWYDION MANOR — DAY

Kerry, in school uniform minus his jacket, is hit with a magical shot and blasted backwards.

QUICK CUT:

INT. BUILDING — DAY

Appearing dressed for winter Emma runs down a hall as a wall behind her explodes outward in her direction.

QUICK CUT:

INT. SKY — NIGHT

With Kerry on his broom, Annie floats over and kisses him.

SMASH CUT:

BLACK SCREEN — TITLE CARD

Classes

SMASH CUT:

INT. HOSPITAL ICU — NIGHT

Inside a closed-off bay Annie begins to pulled air together to make a flat surface.

QUICK CUT:

INT. MEMORY’S END CLASSROOM — DAY

Deanna steps through a large glowing opening in the middle of the room. Backlit by bright, glowing, sifting light, she moves inside about three meters, stops, and motions for Annie and Kerry to join her. They glance at each other, then move towards the opening.

QUICK CUT:

EXT. FORREST — DAY

Appearing the little worst for wear, Kerry runs at high speed with Annie flying behind him as they’re chased through the woods by a robotic cheetah.

QUICK CUT:

EXT. AUDITORIUM STAGE — NIGHT

From Annie’s point of view she looks up at Kerry, who looks down at her and gives a small shrug.

SMASH CUT:

BLACK SCREEN — TITLE CARD

Are

SMASH CUT:

INT. HOUSE DINING ROOM — DAY

Annie sits with four other girls slightly older than her as Helena serves them food.
QUICK CUT:

INT. SCHOOL LIBRARY — DAY

Kerry sits back in the dimly-lit room and slowly closes a laptop.
QUICK CUT:

INT. STONE PASSAGEWAY

With a flurry of blows Annie puts a woman down and out of action. She turns to face the camera as a ball of energy appears before her. She stretches it out into a long bar, then snaps it in half as she trots towards the camera with an energy baston in each hand and a look of pissed off determination on her face.
QUICK CUT:

INT. BUILDING ROOM — DAY

Kerry throws outs a huge stream of cold fire, engulfing one end of the room.
QUICK CUT:

EXT. FOREST — DAY

A bruised and bloody Kerry readies himself when Annie drops down from behind and wraps her arms around his shoulders.

SMASH CUT:

BLACK SCREEN — TITLE CARD

Hell

SMASH CUT:

EXT. FOREST CLEARING— DAY

As the saxophone solo from the song begins Annie looks to her and sees a person wearing black body armor and a helmet jaunt into position about four meters away. Kerry looks to his right and sees the same thing.

CAMERA POV — ANNIE AND KERRY PULL BACK

Annie and Kerry, already a bit beaten and bloody in the now slightly damaged black jumpsuits they they wore into these woods, position themselves back-to-back as the air around shimmer as they craft their magical shielding. The camera pulls further back: Kerry has an energy sword in one hand and the other open with a ball of lightning forming; Annie has both hands free open with a ball of cold fire in one hand and a black ball in the other. As we pull back even further we see maybe a dozen people in the same black body armor and helmets approaching them cautiously, some crafting spells, some drawing large weapons from Hammerspace.

SMASH CUT:

BLACK SCREEN — RUN TITLE

The Foundation Chronicles: C For Continued

DISSOLVE TO:

INT. HOSPITAL — DAY

Kerry lays in a bad with Annie at his side. He’s in his racing uniform, and he’s smiling.

KERRY
At least nothing else is going to happen to me today.

SMASH CUT:

BLACK SCREEN

We hear a door slam.

SLOW FADE TO:

INT. BATHROOM

We see a pair of bare feet walking from a stall. As the person continues walking the camera slowly pans up their legs. They are wearing black pajama trousers and a tee shirt. The camera pans around to the back of the person slowly as the first locks of curly red hair come into view. The camera looks over the shoulder of the girl and we see her reflection in a spotless mirror in a well-lit bathroom. The girl has fair skin, freckles, lots of curly red hair, and striking green eyes. She stops about a meter from a mirror and slowly leans forward as if getting a better look. She finally lets out a held breath as the right corner of her mouth turns just a bit upwards.

KERRY (WHISPERS)
Wow.

SMASH CUT:

BLACK SCREEN — RUN TITLE

Classes Resume This September

FADE OUT: