Truthing the Magical Way

Yesterday I promised that we’d get to see Kerry showing the parents what he could do witchy wise, and today that time has come.  We know Kerry is trying to convince his folks that, yes, he’s really one of those people who do real magic and just don’t pretend, and given that they’re being such hard sells–well, sometimes drastic measure require drastic actions …

 

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

Kerry sat back slowly while keeping eyes locked on his mother. Before leaving Berlin he’d told Ms. Rutherford that his mother would have the hardest time with his coming out, and expected at least one outburst from her. “Okay, Mom.”

Louise turned on Ms. Rutherford. “Why are you having us listen to this bullshit? Why are we really here?”

“We’re here because it is necessary for Kerry to reveal the true nature of his studies.” Ms. Rutherford remained icy calm as she faced a hostile parent—something with which she’d had personal experience in the past. “Everything Kerry’s told you is true—”

“You expect us to believe he can actually do magic?” Louise scoffed loudly. “You made it sound as if you had something important to tell us—”

“It is important, Mrs. Malibey—”

“And you throw this—this goddamn nonsense at us.” Louise looked as if she were about to stand. “This is—”

Kerry.” Ms. Rutherford put just enough volume and tone in her voice to shut down the conversation from the other side of the room. “Maybe now is the time to do what we discussed.”

He nodded. “Yeah.”

Louise immediately perked up. “Do what?”

Kerry’s eyes focused on nothing as he slipped into deep concentration. “Show a practical application.”

“Of what?”

He looked up and at his mother. “This.” Kerry held his hands up and flicked out his index fingers—

 

Do we expect you to believe your son can do magic?  No, Mrs. Malibey; we expect you to die!  Oh, wait:  wrong story.  Anyway, Kerry’s about the lay the mojo down, and–well ….

"I'm always amazed . . . that I actually wrote this crap."

“Yeah, Kerry:  show us what you got.”

Okay, then here goes:

 

All the window shades dropped simultaneously and what little outside light there was dimmed considerably. The door to the kitchen quickly closed and latched, and a black curtain seemed to fill the opening between the family and dining rooms. A moment later all the lights in the room went out, and the family room turned dark instantly.

A bright glowing sphere formed in front of Kerry and rose off his upwardly turned left hand until stopping a few centimeters short of the ceiling. It grew slightly brighter until the family room was filled with a soft white luminescence.

Kerry looked upward for a moment, then turned is gaze across the room to his parents. He crossed his arms. “That should do it.”

His parents sat looking about the room in surprised and confusion which Kerry had expected. Louise slowly turned to him. “Wha—what happened?”

“I used a variation of the levitation spell to drop the shades and shut the kitchen door.” Kerry sat back, looking somewhat pleased. “I threw a masking effect across the windows and did a kind of privacy curtain over the dining room entrance—” He looked to his left at his work. “It’s not that good, but I’ve only been working on something that big for about a month. And last I did a simple light spell and levitated it up towards the ceiling so we can see.” He shrugged. “Pretty simple.”

Davyn emerged from a semi-stupor brought about by Kerry’s crafting. “Simple?”

“Yeah, it really is, Dad—”

“What Kerry means is it’s simple for him.” Ms. Rutherford glanced over towards the boy on his left. “This is the reason he’s in all the advanced—”

“Stop it.”

Ms. Rutherford grew quiet and waited a few moment for Louise Malibey, who now seemed on the verge of being either confused or frightened, to gather herself together. “Is something the matter?”

Louise half-closed her eyes. “Stop this: just stop it.”

Ms. Rutherford nodded towards her left. “Kerry?”

“Sure.” He made the slightest of motions with his left hand: instantly the blinds rose to their proper open position, the door to the kitchen opened, the light ball near the ceiling vanished as the light came on once more, and the privacy effects on the windows and dining room entrance vanished. He leaned forward, rubbing his hands against his thighs. “There.”

Lousie stared hard at her son. “You did that.”

Kerry gave a slight nod. “Yeah, I did.”

“That wasn’t a trick.”

“No, it wasn’t.” He held back from chuckling. “No one from The Foundation came in while the house was empty and set this up so I could trick you.”

Dayvn seemed to relax though he appeared wary and apprehensive. “So you used—magic?”

This time Kerry nodded twice. “Yes: I used magic.”

 

Yeah, Mom, I used magic.  So this cat’s out of the bag and is never getting back in–then again, what cat ever does?  Boxes, however:  all bets are off about when they’ll get out.

I wanted Kerry to do something that would show he’s really skilled with crafting the Art, as they say back at the school, but not do something that would literally scare the shit out of his parents.  Fireballs and Cold Fire?  They wouldn’t have dug it.  Shadow Ribbons?  Too sinister.  Air hammer?  Yeah, blowing out the windows in the family room would have made a statement.

And, yes, he could have done a little transformation magic like change the color of his hair or darken his complexion, but he’s probably aware by now that his parents would probably have freaked out even more if they knew their had their own little Mystique living under their roof, and that their child is a person who can literally become you if they want.

This, however, does lead to a few questions and a revelation–

 

Louise turned to Ms. Rutherford. “So all the students at school are witches?”

Ms. Rutherford remained calm. “Yes.”

“And the instructors?”

“They’re witches as well: it’s necessary.” She sat back just a bit. “And before you ask, yes: the staff at school are witches as well.”

Louise looked downward as she swallowed once. “That must mean—” She looked at the woman sitting across from her. “—you’re a witch, too.”

“I am.” Ms. Rutherford crossed her arms and gently rubbed her chin with her right hand. “I went to Salem, just like Kerry.”

Dayvn nodded slowly. “When did you go?”

“I started in 2001: I was among the first A Levels to begin the new century.”

“When did you graduate?”

“2007.”

Both of Louise’s eyebrows shot up in surprise. “How old were you?”

“Seventeen.” Ms. Rutherford looked at Kerry with a certain pride. “The same age as Kerry will be when he graduates.”

“But—” Louise looked down and away as if she were having difficulty understanding something. “That was only six years ago.”

“Yes, it was.” Ms. Rutherford chuckled lightly. “In case you’re wondering, I’ll be twenty-three in about six weeks.”

“You don’t look anything like twenty-three.”

“I know. When we’re dealing with the parents of children from Normal backgrounds—non-witches, mind you—we try to make ourselves look more ‘age appropriate’. It allows the parents to feel more comfortable when dealing with us. But now that you know I’m a witch, there really isn’t any need to keep up the charade—”

Though she didn’t change in height or size, Ms. Rutherford’s features flowed from that of a woman who may have been in her mid-thirties to someone who appeared to be maybe three or four years older than Kerry. The transformation took place in less than three seconds, and when it was over she spoke to the visibly shocked adults. “This is how I really look. And how I’ll look from now on when I speak with Kerry and come for him.”

 

Now this little bit of writing required that I do something:  mainly, figure out all the stuff with Berniece’s life.  I knew a little about her, but it was only in this moment of writing that I locked her down to an age and attendance.

And that means having to get a time line ready.

And that means having to get a time line ready.

And it also shows that The Foundation is thinking ahead in that they like the people who have to deal with their student’s parents to look–let’s say “professional”.  Which is to mean age appropriate, as she says.

And that makes things a bit more interesting when we realize that those moments in which Ms. Rutherford comforted Kerry when his moments of need, she’s really only ten years older than him and Annie.  And that means she probably does relate to him better, because it wasn’t that long ago she may have went through the same things he’s going through now.

It’s also easy to see that here are at least three people at Salem that she may have known, though it’s doubtful she was ever friends with them.  Even her covenmate Wednesday would have been an E Level once Berniece was out of The Fishbowl, and that’s a pretty big gap to jump in terms of friendship.  Still, she would have likely known those three people, and she likely would have had Erywin, Jessica, Maddie, Ramona, and Mathias as instructors, and maybe even Helena, too; I’d have to check on that last.  She’s a good person to have as your case worker if you need something done, because she knows people, yeah?

So now that the Malibey’s have seen transformation magic up close and personal, they’re okay with it–

 

Louise’s face froze into a tight mask. “You look like a teenager.”

“Well—” She glanced over to Kerry, who was examining his case worker’s true appearance. “I do look like I’m eighteen, but that comes with being a witch.” She turned back to Louise with a smile. “It comes with being what I am.”

“I see.” Louise folded her hands across her lap and stared unfocused into space. “I need you leave.”

“I beg your pardon?” Ms. Rutherford cocked her head to one side. “Is there a—”

“I need you to leave.” Louise straightened as her eyes turned cold. “I want you out of this house, and I want you out now.”

 

–Okay, maybe not.  Then again, we knew Louise Malibey was going to be a hard sell, and we weren’t disappointed.

The question remains:  where happens next?

I guess you’ll have to wait and see, won’t you?

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.

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.

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:

 

Pulling Together the Imaginary Ends

As promised I started getting into the trailer last night, and it was fun.  If you consider fun hitting yourself on the foot with a hammer–

“No this is really easy, it is. Just keep telling yourself this over and over and over . . .”

I really shouldn’t say that, because it’s not entirely true.  The creative process is always a pain in the ass, because you have to be, um, creative.  You gotta make things up and have them make sense, and you have to do it in new and entertaining ways.  Sometimes that’s an easy thing to do, and writers love it when the prose flows and the words say what you want them to say.

And then there was last night, when I found moments where I was wandering about the apartment working out lines in my head or even speaking them outright.  Because even though I have it all down on the time line, that doesn’t mean I don’t have them down and presentable for the reader.  And that’s where the fun starts:  getting is all ready so that people can see, read, and be entertained.

I’m not certain how much I wrote last night–oh, wait, I can find that information quick.  Here:  1,188 words.  As I’m shooting for a three thousand word piece, I’m almost half way there, whoa-o, livin’ on a prayer.  And I will likely make it with a big push tonight.  And maybe even a smaller push on Friday.  No matter what, I will get this out Saturday morning, because I promised.

In the meantime I’ll give you just a peek, because I can.  It doesn’t give away anything, but it does show you the layout I used for the first trailer:

 

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

 

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:

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. (Link here)

ANNIE
Welcome to the second floor.

 

Not a lot, eh?  Well, I can’t give everything away, but at least you know they get back to the school and are ready to take care of the new kids on the floor.  As for the rest–it’s coming, folks, you just gotta wait a few more days.

I will admit to feeling a bit of pressure, however.  There’s a part of me that doesn’t feel as if I’m ready, and that I’m going to get into this and blow it all to hell.

And then I remember:  I’m a writer.

We feel this way all the time.

New Class Structure

No, today isn’t about how I’m going to help smash the capitalistic patriarchy and work towards making a better life for everyone, even though you might think that based upon the title of today’s post.  No, it’s far difference.  So bear with me.

I managed to map out two more chapters last night.  Doesn’t seem like a lot, right?  Patience, grasshopper.  So let me get into this like I did yesterday.

Here we are in one big bundle.

Here we are in one big bundle.

Up to C should be pretty self-explanatory:  Annie and Kerry are now in charge of the second floor and The New New Kids are showing up for the first time.  One of these kids Annie and Kerry will already know, as they will meet them in Paris before they fly over together on the plane.  Growing Pains does not mean I’m bringing back an ABC sitcom, but rather you’re going to discover a rather–well, I guess you could say a pretty normal situation that doesn’t get mentioned much in stories like this.  You’ll see.

Memory’s Once More shouldn’t be a big surprise to anyone:  it’s time to have a vision with our favorite seer, and this is one of the normal, usual things that come about.  Monitoring the Monitors is something a little different, but if you think about it you know what’s coming.

Now, I had to pause at this point because in order to do the next chapter I needed something:  the C Level Class Schedule.  First, let go over Chapter Eight, The Separate Realities, because I have it right here.  A Different Schedule is going to be a little different of a scene.  No details here, but you’ll see.  The first two scenes, Artistic You and Learning to See involve new classes the kids are taking.  Dark Minions–simple enough there, as is The Flight Ahead.  And The Welcome Madness is needed after a rough first week.

With those chapters out of the way, let’s look at the schedule

And what a schedule!

And what a schedule!

Monday Advanced Formulistic Magic is there where it was last year, but this year we have Introduction to Art first thing in the morning.  This is Professor Ellison starting to get the kids ready to be immersed in art.  And it’s not just drawing and painting, but music as well.  Since Annie and Kerry seem to have this part down good, they shouldn’t have a problem.

Tuesday afternoon sees Introduction of Divination, and we finally get a peak into Deanna’s class.  Wednesday has C Level Sorcery, which isn’t for everyone so some of the kids who didn’t make the cut will end up in an elective class, or just take the morning off.  Practical Super Science is the first class the kids will take over at the Tesla Center, and this will involve a lot of theory about how to make super sciency thing, but also some practical applications.  This is the only year the kids take this.

Let me skip Thursday and get to Friday.  After Advanced Flight Two, which is, of course, only Kerry, there’s an afternoon class called Special Astral Training.  Who’s in that class?  Two kids, and see if you can guess who they are.  This is gonna be headed up by Deanna, but we may see Professor Adric Lewiston help out, too.  And why is this?  You’ll find out.

Also, there’s something interesting for Thursday.  Both classes are not highlighted, which means Annie and Kerry aren’t taking them because of advanced classes, but there’s something called B and A Level Sorcery Minion Work, and that is highlighted.  That’s because Thursday is Mandatory Sorcery Day, and Helena wants minions–good ones, too.  So their time is penciled in there, and if Helena doesn’t need them, there’s always a possibility that Erywin or Wednesday could call them in to help out.  And while they have Monday night and Tuesday morning off, there’s always the chance that Jessica could called them in to help with class, and I’m sure that someone can find something for them to do Monday evenings.

Remember I said that classes are gonna be hell this year?  Now you see that they’re back to some A Level stuff with having almost no time to themselves, and that’s gonna wear them down just a little.  Or a lot.  Now, the Friday afternoon class won’t be all the time, but that’s only because they’re doing something else.  It’s time to push the kiddies, and there is a method to the madness.

But you know there’s always a bit of a problem where madness is involved.