The Search for A God

This is the story of a camerawoman, a legend-sifter, a pilot, an inventor, and a mechanic. All in a world different to our own. In this world, there are dragons living in sanctioned wildernesses, Shifters living amongst humans and amongst animals, people with Gifts since birth that let them do amazing things, people who live tied to an element, and gods that have mystified the dreams of the public's hero, an archaeologist and legend-sifter.
And these five people are about to see that these gods do exist, and all through the adventure those dreams sent them on.

(I had a dream. A lot of the things the dream this began as couldn't really be translated that well into words in a story format, so I thought, why not make this a screenplay? It might end up some amount better. I may or may not reconsider this idea.)


1. Scene I

(Opens on an airfield from behind a woman walking towards a large barrier blocking off a section of the space surrounded by people. The woman’s name? IRENE FANCET. Of average height with short, black hair, she dresses professionally, and seems to take herself seriously, but there is an expressiveness about her in her style of dress. She carries a shoulder bag that looks somewhat worn. The airfield in fairly nondescript. Nothing special, save for the amount of people in it that day, surrounding the huge blocked-off area. The camera moves as her pace slows so we get a view of Irene’s face. She appears somewhat worried, perhaps by the amount of people? Or about something else?)



Maybe I should have come sooner.


(Cut to show an airship, the Lady Andrea, drifting down through the cloud cover on the overcast day. A zeppelin, perhaps, but even if it’s not, it’s silver and black, a design that might have been considered steampunk if the color palette was swapped. It’s very large, large enough for many people to live inside it, and for it to still have room enough for supplies to last a long journey. It descends carefully, landing almost dead center in the spot laid for it. Irene watches this from a ways away from the ring of people, seeming to have decided to wait for the one occupant in particular to exit the airship and the surrounding ring of people. After the successful and outwardly soft landing, every sound the airship makes slowly hums to a halt. And then the camera cuts to show the door opening, revealing AUSTIN PIKE, a fairly young, almost stereotypically handsome hero. He, too, has short, black hair, but the hat he wears, a well-worn Stetson, hides most of it. Besides the Stetson he wears a light dress shirt and dark pants, the shirt tucked in and sleeves rolled up to about his elbows. He grins, pleased by the amount of people that seemingly both he and his airship have attracted, but he seems to look for someone as he hurries down off the ship. A moment after he gets off, his companions, NATHANIEL BURKE and ALEXANDER WALKER, more commonly referred to as Alex, follow suit. Nathaniel is a large man, brown hair, neatly cut. Alexander is smaller, lither. But he is nondescript, could blend in easily in a crowd.)



(to his companions)

I’ll be back soon. You get the Lady prepped for the next journey, alright, boys?


(Alex and Nathaniel both give unintelligible responses, and Pike approaches the barrier where guards wait to make people move away, which they do, respectfully, quietly. Pike scoffs, made aware now that he wasn’t the main attraction and that his ship was. Irene decides to approach him as soon as he gets far enough away from the ring of people. Cut to her jogging up to Pike, calling to him as she does so.)



Mr. Pike!


(Cut to Pike to show this succeeds in getting his attention, as he looks toward her, happy to have someone noticing him. He smiles, charmingly, as Irene gets within earshot and greets her.)



Hello, there.


(Cut to an angle facing the both of them. Irene offers a calm hand to him and a professional smile, adjusting her bag and smoothing out the shirt/jacket she wears, checking to see if she still looks orderly without looking down.)



Mr. Pike, I’m Irene Fancet. My boss, Charles Waters, gave you a call about a filming offer?



Ah! Yes. Of course. I recall.



Please, right this way.


(She motions behind her, back towards a plain, grey car, presumably where Irene was walking from when the scene started. Once Pike passes her on his way to the car, she goes to the driver’s side and enters the driver’s seat, Pike taking shotgun. The car starts and Irene drives off.)

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