Saturday, September 17, 2011

the part of the script that isn't in the storyboards

Scene: The doodle is made

Pages 1, 3, take place in the real world classroom of our child actor
We are introduced to the math class, the kid, and the piece of paper that will soon birth a doodle.
Page 4-5 shows the finishing of the doodle and his walk into imagination. he is swatted at by some other doodles.
The doodle then walks through a series of paintings, finally arriving at a sort of scratchy black inkline world which fades to just the white of the paper.
(This will be the void stage)
Whatever music was playing (if there was music playing) stops, and there is the empty, windy sound of the void all around.
We cut to a close up of the doodle, wearing his sad/uncomfortable face. (MAKE A SAD FACE) He continues to walk, but less surely. A piece of paper whisks in front of the doodle and obscures him for a second. Quick zoom out, emphasizing the doodle’s loneliness. We flip him back and forth as if he’s looking around. The paper moves quickly, but behind him this time. sfx: swisssshhhh
cut really close on the doodle’s eyes
need a transition to the camera part
Pages 8-9 bridges us into the next part, with accompaniment from the storyboards, which is not the way things go anymore guys! It is time for change, and we are making it.
Scene: The doodlelands
Oscar: Scribbles!
Scribbles: (the sound of pencils marking)
Lucy: Scribble population looks good. How is the stickiness of those post it shrubs, Sock ?
SM: (thumbs up)
Lucy: Cool.
Oscar: When we’re done with this census, maybe the imaginaut academy will give us some real missions. . .
Lucy: But Oscar, this IS a real mission! The health of the doodlelands is a good indicator of the health of the imagination dimension as a whole. They’re as important to us as the the laughter of a child, or the purr of a dragon. In these noble creatures lie the seeds of hope--their every line is a testament to the raw creative energy that lurks, unsuspected and unappreciated, within each of us.
Lucy: Eloquent. Let’s take some measurements and head home. You rule.
O: Aw, shucks--(lucy hands him a ruler, sfx: HONK, camera makes a quick zoom out cut that includes the ruler and a disappointed oscar face)
measurements are taken, see pages 10-11 in the storyboards, up until the middle of page 11 in the storyboards
Lucy: Alright mr snailagator, you’re clear.
Lucy: Don’t mention it. Hmmm. It’s getting late, we should head back. OSCAR!
cuts to oscar measuring a dude’s waist
O: Looking good, crocogator (hears lucy shout his name, but from a distance)
O: See you later! (oscar wiggles and waggles a bit, the background moves behind him)
about a foot later, a mewling sound is heard (background stops moving. mewling stops. background resumes moving. Mewling starts again.)
O: Hey, shh weeping rock, I think someone is hurt
the weeping rock is just a rock with googly eyes and tears. Sculpey!
(camera cuts down to show him at oscar’s feet)
Rock: Sorry.
cut to oscars face, large in the right half of the screen.
Mewling continues
O: hmmmm
Camera placed behind post it bushes. Oscar approaches, notices, and presses through somehow
Cut to close up of oscar’s face, expression: mouth is an “o,” eyes too
cut to oscar’s perspective (camera behind his back) of the doodle
O: Hey little dude. el.
Lucy: Oscar!
O: gasp! you know my name? (face: mouth an o, eyes wide, super close up)
cut out a little bit. camera is looking at oscar. His eyes come to the middle of the frame now, and lucy and sock are bhind him in the vehicle. Oscar’s face: eyes are normal, looking up and stage left, mouth still an o)
Lucy: ...yes. Now come on. We’re going to miss the first part of Glove Love
the camera is now close on oscar, showing head/shoulders
Oscar: Ooooh, and they’re supposed to have that important flashback today, too. backround moves behind oscar as the camera is real tight on his face: content
cut to Dood: murrr. . .
back to oscar walking: doubtful, with a frown and eyes looking backwards, eyebrows furrowed. head. neck, no shoulders.
the background stops moving.
Oscar: No. we need to find out what’s wrong with this doodle.
Lucy: We can do it tomorrow. Let’s go!
Oscar: He might have left by tomorrow, or he might get into hard drugs to ease his sadness! We should take him back to the tower.
Lucy: You know about the tower’s strict no-pet policy. (something funny)
Oscar: b-but he wouldn’t be a pet! you said yourself that doodles are an indicator of imaginary health or somehting Iwasn’treallypayingattention. This is vital to our research.
Lucy: sigh. oscar.
cut to the doodle’s face, extreme closeup. His eyes are big and watery and vulnerable.
pan up and to the side, oscar’s face is a perfect mirror of the doodles. He’s sniffling.
Lucy. sighhhhhh. fine. But you have to feed him! And pick up after him. And walk him. And. . . do the dishes for a week. And bake me cookies.
Oscar: What kind of cookies?
Lucy: Orange coconut cream.
Oscar: . . . . done.
Pages 12-13 aren’t happening.
Narrator: AND SO, the imaginauts, with their new friend in tow, made their way homewards, through the sea of bathroom graffiti. . . past the forest of these shapes people draw. . . and, taking a shortcut through Monroe Park. . . They arrived at their home and sanctuary. . . Imaginaut’s Tower, shining majestically in the dusky---click---acoustic, twangy music plays instead of the narrator’s voice.
Oscar: I was listening to that!
Lucy: Relax, dude, this is a good song.
Scene: Aprroaching the tower. Entering the tower.
how to best showcase this set?
There needs to be something here to introduce us to the interior of the tower. If we go straight to the montage it won’t make sense. It could be a slow zoom out of lucy or oscar washing their hands in the sink? Like, because hygiene is important. Then they try to get dood to wash his hands.
We zoom slowly out of the sink part of the tower, where Lucy is washing her hands. Hygiene, people. Shots are continuous unless otherwise noted.
Lucy: See? Always wash your hands after a mission. Otherwise the germs will sneak into our cabinets and eat all our chips again.
Dood: Ruff!
Oscar: Heyyy guys, what’s happening?
Lucy: I’m teaching dood the importance of hygiene. Did you wash your hands?
Oscar: (looks at his hands) Of course.
Cut to a close up of those felt gloves we’re going to make, covered with little wriggly things, either claymated or little paper things on sticks, the important thing is that they’re moving and making little squeaking happy noises, like the scribbles
Oscar: (putting his hand(s?) behind his back) Anyways, there isn’t even any water coming out of the faucet.
Lucy: Well duh. Dood is made of paper. If he gets wet he’ll be permanently wrinkled.
Oscar: I think whoever made this show is just too lazy to make water. (a hand comes out from below and flicks him in the head.) Ow!
Cut to the computer
Pan back to the group at the sink. Both of the imaginauts are turned towards the computer, their faces turned away from the camera, Lucy is stage right, Oscar left. She turns to the camera to speak, and her face is concerned.
Lucy: Oh (the name of an artist that sounds like poop. I am not kidding about this guys). If they see dood, we’re never going to get our deposit back!
Oscar: (turning to reveal his freaked out face) What should we do?
Possible cut to just Lucy’s face, so we can change her expression to a thinking one.
Lucy: (with her hand to her chin, thoughtful) Hmmm. . . I’ve got it!
Cut back to the computer, still beeping.
Pan to Lucy, Oscar, sock monkey, and dood watching tv.
Cut to the tv show that’s going on, the hand thing)
Hand 1: What are you hiding!?
cut to Hand 2: (who is in a glove)
Cut back to the couch.
Oscar: Wait, is this before or after the time warp?
Lucy: Both, I think.
Oscar: Huh.
Sock monkey: (hand to mouth) shhhhhh
We should connect this to the montage by oscar saying something about trying to make the doodle happy. So the montage is like a series of experiments to bring joy to the doodle? They won’t be in the tower so whatever.
Baking cookies!
doing dishes! (oscar’s face should be sad as this is happening I guess. sad but also funny)
some sort of mission, the most hilarious moment of.
Scene: entering the main room of the tower. If we are able, this would be a good time to zoom in through the windows and into the tower interior, specifically the kitchen. Would it be possible to zoom into the windows of the Tower Exterior set and greenscreen the tower interior footage into it? That would be cool.
Lucy: Phew. Time for the customary post-mission smoothies. (Lucy tilts forwards, suggesting that she is looking down) You can have one too, dood, for your good work today!
Cut to dood, looking down. Oscar is standing right behind him and we can see his legs maybe?
Dood: murrrr.
Pan up to Oscar, looking concerned.
Oscar: I don’t think he likes smoothies.
*If it makes sense (as far as blocking) to include Lucy in this shot, we should do it. otherwise, we’ll just cut to her looking wide-eyed, frowny mouth open
Lucy: but we have those nice ahhhberries!
cut to miniscene: screaming ahhberries
cut to Dood: murrrr (we can just shoot this when we shoot the other scene of dood being muurrry, six lines up)
Pan up to Lucy, concerned
Lucy: He’s hardly touched his scribble kibble.
Pan to Oscar: (icky face, looking at the doodlefood bag) Yech. Oooobviously this kibble is too bland and dry for him. I’m going to make him some fresh doodlefood.
Cut to Lucy: (eyebrows down, mouth frowning but not open) Alright. fine. do whatever. I’ll make a smoothie, and you’ll want one too but you won’t have one.
Cut to Oscar: (smiling mouth open)Probably!
Scene: Oscar tries to doodle. This is contained in pages 21-28.5 of the storyboards. The second part of page 29--panel 3 of page 31 do not happen. Somewhere in the middle of this, at the most crucially hilarious moment, we cut in a shot of Lucy making a smoothie.
Scene: Lucy runs a test. She is standing by the big structure in the middle of the tower, and dood is inside the area of the red thing where a monitor should be. (No! She is at her desk! Except that this would mean she was right by Oscar that whole time? We need to find a way to have her facing the camera, blocked partially by her computer.) She has a smoothie.
Oscar (coming in from stage right): Hey Lucy, have you seen dood? I have a pizza for him.
Lucy: Yeah, I’m just connecting dood to the imaginet mainframe.
Oscar: Cool. . (feeding dood the pizza) . . . . why?
Lucy: If I can find his original ip address and cross reference it with imagigration records, I should be able to determine his artist and his point of origin.
Oscar (looking at the doodle from the opposite vantage point of Lucy): uh. . .is it. . . Nick Creci? Mrs Wittkopf’s class? Period 5?
Lucy: hold on
cut to all of them standing around the computer looking still and awkward
sfx: HORRIBLE DIALUP SOUND FOR AN ETERNITY, followed by the sound of a receipt printing from dood’s mouth, maybe a good ding, then the sound of lucy tearing the receipt off.
Cut to Lucy
Lucy (looking at the receipt): Yes.
L: This is weird.
O: (moving into the frame, eyes normal, mouth an o) What’s up?
Cut to behind them, looking at the receipt. (on the paper printed out of dood’s mouth, there is a small, crude map with two x’s on it.)
L: We found dood in this area of the doodleland, but it looks like the largest concentration of nick’s drawings are concentrated over here.
Cut to looking at them from the front again, Oscar leaning away from Lucy and the map.
O: Huh. Maybe he was homesick. Or lonely. Or thirsty. MAYBE HE JUST NEEDS A HUG.
cut back to the awkward wide scene. In fact, just edit the earlier shot into this silence
cut back to Lucy.
Lucy: Anyways. Maybe we can find the answer with his doodle cousins?
Pan to Oscar, with his big open smile on
Oscar: I’ll pack some snacks!
PS: during that entire scene, the sock monkey was playing tetris on the computer in the background
Scene: Travelling again: panels 4-10 of p. 31
goals: establish that it is best the doodle be in his home
narrator: And so the imaginauts set sail once again, into the teeth of the gales off the island of exquisite corpses. . . through the wild jungles of--
Lucy turns off the radio.
Lucy: what’s wrong, oscar? You love a good montage.
Oscar: well. . . when I was doodling earlier, I noticed something. . .
extreme close up on oscar’s face: his eyes are ridiculously small and pure white, the corners of his mouth drawn down in an exaggerated manner.
zoom out, things are back to normal
Lucy: Did this have anything
Lucy: Look, Oscar, I know how you feel. Dood is the best scrabble player I’ve ever faced. But he doesn’t belong with us.
Lucy: We have to care for the citizens of Imagination, but sometimes that means letting them be free.
  1. Monkey: ....
L: Exactly.
O: sniff. You always know what to say, Monkey.
L: We’re here.
Scene: Landing in the doodletown, looking around.
This part is covered in pages 34-35 of the storyboards, but the dialogue has changed a little.
The craft lands front of the 1st stage
camera is behind OLM, we can see just a touch of the ship (we will need to make a big version I guess)
Lucy: This looks. . . nice.
cut to a boarded up window
cut to the doodle eating the tumbleweed.
cut to the doodle riding on his motorcycle
cut to OLMD, from the front, close. It might make sense to put the vehicle behind them (as they are still looking towards the set)
Oscar: This looks like a cemetery for dreams.
a doodle walks into the camera
Doodle 1: What a splendid specimen!
Doodle 2: mmmmm, look at those legs!
(a close up on oscar’s face: blushing, mouth open, eyes looking away? see storyboard for expression. the camera pans down to dood, who is walking in front/ beside him.
(heads peek out behind buildings and out of windows. camera pans over a doodle peering out of a window and then at the crowd of doodles now around the imaginauts
There is now a crowd of doodles around OLMD the camera pulls back to reveal them.
Lucy: I’m Lucy, and this is Oscar. This is--
Doodle 2: As if we are not familiar with s. monkey! I love your work, Mr. Monkey.
SM: (bows)
Oscar and Lucy look at each other
Oscar: And this is dood.
{Oscar and Lucy, simultaneously lifting badges: We’re Imaginauts.}
Doodle 3: What’s your story then, new guy?
Doodle 1: my mother was a golf pencil, and my father was a receipt.
Doodle 2: I was drawn on some english homework.
Squid doodle: I’m a squid.
Oscar: I think dood is from 4th period.
Doodle 3: Oh, my niece is from 4th period. You would loooooove her.
Oscar: You dudes seem pretty friendly.
Doodle 3: It’s just so nice to see new face.
Doodle 1: It’s just been ages since we had a doodle arrive here.
Doodle 2: And the scribbles is down to a trickle.
Self Portrait: They’ve all dried up.
camera shifts to the kid on the ground of one of the houses, and cuts back to the imaginauts looking concerned=
Lucy: Who is that?
Doodle 1: That’s Nick. his self portrait, anyways.
Doodle 2: He’s been taking it worst, poor guy.
Lucy (sotto vocce, to oscar): If anyone knows what’s wrong with this town, it’s the portrait of its creator.
Oscar: Or a librarian, maybe. (lucy looks at him) What?
Lucy: Hey. What were you saying back there?
self portrait: Nothing.
Lucy: nothing?
self portrait: Nothing. That’s all I can do. Nothing.
Lucy: What’s that, then? (camera looks at a book by the kid’s feet)
self portrait: nothing.
Lucy: It looks like something.
self portrait: it looks blank.
Oscar: it is blank.
Lucy (glares)
Oscar: What’s wrong with blank? Every sketchbook starts out blank.
Self Portrait: You don’t understand. I can’t draw anymore. All my ideas have dried up. Just like this town.
Oscar: Can’t?
Lucy: What do you mean, can’t? You made all these awesome doodles!
Lucy points and the camera follows her gesture to where the the doodles from before are beaming.
Doodle 3: Hey.
The camera pans quick back to the kid (so people don’t realize that the doodles’ expressions are fixed), arranged like this
lucy (midground)>>>doodles (background)>>>KID (foreground)
self portrait: I did. But that was before. . . before. . . (camera cuts to sketchbook, menacingly blank) You shouldn’t have come here.
Lucy: . . . why can’t you draw anymore?
Self Portrait: . . . You shouldn’t have come here. You should have stayed away.
Doodle 4 (scared doodle): It’s the F-FF-FFEAR
Oscar: Is that why you doodles were hiding? fear?
Lucy: You can’t be afraid of creating something! You can be afraid of werewolves, or mummies, or clowns-
Oscar: Or people with knives for finger!
Lucy:--yes, or people with knives for fingers. But not creation.
Doodle 4: You don’t understand. The Fear hates new doodles!
Doodle 1: It hates everything!
doodle with knives for fingers: (reaches one of it’s hands up as if to speak but then thinks better of it)
self portrait: It hates you.
Everyone looks at the self portrait
self portrait: It knows you. It knows you brought the doodle.
Lucy: it’s ok--
self portrait: It’s coming.
Lucy: What’s--
Lucy’s smartphone or whatever starts beeping:
Doodle whichever: It’s the FEEEEAAAR!
Doodle whichever 2: EVERYBODY FREAK OUT!
Doodles all of them: AAAAAAAAAAAAAAAHHHH
(the doodles start to freak out, camera pans over to show the imaginauts screaming)
The Imaginauts: AAAAAAHHHHHH
(then it should cut to Lucy, no longer screaming, but looking puzzled as to why she was just screaming)
Lucy: aaaawait. We’re imaginauts! This is our job.
pan to
cut to
Lucy (stern): OSCAR.
cuts to
Oscar (looking as if he wasn’t just screaming at all. I’ll draw you a picture): Sorry. I got kind of caught up in the moment.
self portrait: You should go. Why don’t you leave?
Oscar: Because we’re imaginauts.
Lucy: If we can’t stop whatever’s coming this way, we don’t deserve to wear these badges.
Oscar: Or these stylish jumpsuits!
Lucy: No one deserves that jumpsuit.
self portrait: you don’t understand! You can’t fight it!
Oscar: Can too
Self portrait: nuh uh
oscar: uh huh
self portrait: NUH UH
oscar: UH HUH
self portrait: NUHHH. UH.
Lucy: Would you guys cut it out! Nick, you can count on us to protect you from this fear, whatever it is. Oscar. . .
Oscar: (quietly) uh huh
Lucy: OSCAR!
After that, this is pretty much scene from scene what happens in pages 38-50; the dialogue is a little improved in the typed script though so refer to that.
Scene: Climactic fleeing
Camera goes back and forth between L and O
Lucy: Shoot it!
Oscar: What?
L: Use your imagination gun or-or whatever!
O: othis? this is a pencil sharpener
zoom out, oscar sharpens a pencil
(lucy snatches the pencil and throws it at the guy)
O: Hey!
O: I don’t believe you!
L: Wait; that scared him! Give me another one!
O: That was my only pencil!
L: What!? You have like, a thousand pencils!
O: And one of them is my travelling pencil!
O: It’s very specific. It’s waterproof.
sfx: CRASH
L: do you have a pen?
Scene: Within the void
O: Soooo. . . white. . . .
L: We have to. . . make. . . a mark. . . give. . . pen.
O: I can’t. . .my ink squid ran away. . . because I was mean to him.
O: I never even got the chance to apologise.
Squid: eep eep
O: RIngo!
squid: eep eep eep
O: You mean you’ve been hiding in my pocket this whole time?
squid: eep eep eeepe
O: psh, please, I just washed this vest!
L: the. . .pen koff koff
O: orite. What do you say, ringo?
squid: eeep eeeep eeep

Lucy: Oscar! Oooooscarrrrr! (fade out)
Lucy: Nevermind, sock money had a pen!
Oscar: Hissss!
Lucy: Gross. (lucy makes a mark this is covered in pages 47-50 of the storyboards)
(somehow we should work the self portrait puppet and his blank sketchbook into this. howwwww)
Lucy: So. We’re done here?
Oscar: I. . . think so.
  1. Monkey: . . .
Lucy: oh! I almost forgot!
And so
(the next part is covered in the green sketchbook)
Lucy: Another mission well done, another lesson well-learned!
Oscar: Yes; there are NO pets allowed at Imaginauts tower!
Lucy: What? That’s not the lesson we learned.
Oscar: Oh. Was it--
pan to a piece of the Fear drinking from Lucy’s smoothie
Parking Lot
Oscar: Yeah, I took an elective on doodleology in my junior year at the academy.
Lucy: Then why am I in charge of the checklist?
Oscar: I spent the whole class doodling, so I didn’t actually learn anything.

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