NIGHT OF THE ECLIPSOID MAN, PART 1

Written by

Jerrel McQuen

Sound Design, Music Composition, Post Production by
Marc J. Rose

Produced and Hosted by
John F. Barber

Creative Commons Attribution-Non-Commercial-NoDerivs 3.0 United States License.
©2024 Re-Imagined Radio. All rights reserved (except those granted by the Creative Commons license)

Re-Imagined Radio
Season 12, Episode 10, October 21, 2024

Final draft

NIGHT OF THE ECLIPSOID MAN, PART 1

Re-Imagined Radio
Season 12, Episode 10
Final Draft

Premier broadcast: October 21, 2024

Written by Jerrel McQuen

Sound Design, Original Music Composition, Post Production by Marc Rose

Produced and Hosted by John Barber

Graphics by Holly Slocum

Synopsis
Spencer Knightbridge is transformed into a quixotic one-man holocaust, bent on avenging horrible wrongs done him while growing up in the Neon Bowrey of Quayment, a planet in an alternate universe called Dry Smoke and Whispers.

Color Code
SFX = sound effects, pre-recorded

MUSIC = pre-recorded

MUSIC = bespoke, created for this episode

MUSIC: RIR THEME
ANNOUNCER
Welcome to Re-Imagined Radio, a program about radio storytelling. With each episode we explore how dialogue, sound effects, and music can combine to promote storytelling and engage your listening imagination. We also like to  include the stories behind the story. The history. The connections. Trivia. And we always strive to answer the questions, "So What?" and "Why Is This Important?" This episode is no different, and here to tell you about it is John Barber, producer and host.
HOST OPEN
HOST
Thank you, and welcome to this guest-curated episode of Re-Imagined Radio. Our episode is 'Night of the Eclipsoid Man,' a two-part work of cinematic radio storytelling by Jerrel McQuen (Mac-Qwhen) and Marc Rose, of Enserne Media, Portland, Oregon.
This is Part 1.
In it, Spencer Knightbridge is transformed into a quixotic one-man holocaust, bent on avenging horrible wrongs done him while growing up on Quayment, a planet in an alternate universe called Dry Smoke and Whispers.
For more information, and the episode script, visit our website, reimaginedradio dot fm.
Thank you for joining us as Re-Imagined Radio presents 'Night of the Eclipsoid Man' by Jerrel McQuen and Marc Rose.

SFX: COMPLEX DIGITAL LOCK SEQUENCE. LARGE ROLLING DOOR HEAVILY OPENS. OMINOUS LAB EQUIPMENT. TWO PEOPLE ENTER, STOP BY DOOR.
ANEELIA
(ANEELIA IS FALLING IN LOVE WITH KNIGHTBRIDGE.) Bridgers, please, tell me you're not upping the timetable. Again.
KNIGHTBRIDGE
(KNIGHTBRIDGE RESPECTS HER, WISHES HE COULD RETURN HER FEELINGS, BUT MANY CIRCUMSTANCES PREVENT.) What timetable? Basil's in 'is usual "run 34 test flags up the pole before we fly the real one" mode. (SIGHS)
ANEELIA
(AS KINGBRIDGE'S MOOD GOES DEEPLY BLUE FOR A MOMENT, SHE PICKS UP ON IT) What's wrong. You're sad all of a sudden.
KNIGHTBRIDGE
' in me 'ead. Let's go. Stop speakin' up in it. Stop readin' me yeah.
ANEELIA
Touchy. Touchy. Now you're irritated.
KNIGHTBRIDGE
I'm just really on trial-racin' a little "inventor's upgrade" and no Thurwoody eyes on me back, ya know?
ANEELIA
I KNOW. But this, this project... we're playing with fire on this one... the hottest fire you can play with.
KNIGHTBRIDGE
(NOW HIS MOOD GOES DARKLY REFLECTIVE) I know. No easy way Home, crossin' the 'ole Night Bridge.
ANEELIA
(TRYING TO TURN HIS MOOD, PLAYFULLY, REBELLIOUSLY) Well, let me stay and help out then.
KNIGHTBRIDGE
Ahhh, Neelz, we been through all this. You are Basil's perfect uptown apprentice. We need to keep that in the wrap.
ANEELIA
Bad feeling. Big, bad feeling... I feel like you're pushing yourself way too hard... Some things come with time.
KNIGHTBRIDGE
(NOW WITH OVERT BITTERNESS, WITHOUT THINKING, HE'S ALWAYS BEEN PUT OFF, BEHIND THE EIGHT BALL) Yeah, well, all those Ye Olde Royalty Money Towers – always got big clocks on 'em, yeah? Why? Because they own all the time in the world.
ANEELIA
(DOESN'T TAKE OFFENSE. JOKINGLY, BUT SERIOUS UNDERNEATH, THINKING A GREEN CARD MIGHT LEAD TO SOMETHING MORE) Hey . . . if you married me, you'd have money.
KNIGHTBRIDGE
(WINCES, FOR HE KNOWS SHE'S SERIOUS) Neelz..I keep tellin' ya. I got ghosts. 'Razor-teeth Jackaraws got your back at a chained up sewer grate' ghosts... (BACK TO IT) Now lock me in. And eighty-six that timing code. What I got planned for tonight, trust me. I'll be the holonews wunder-kind, just like when this project began.
ANEELIA
(FRUSTRATED) Oh, alright, go ahead then. Be nothing but blind ambition. (BEAT. QUIETLY, IF SOMEWHAT BITTERLY) But I know better. (RESIGNED NOW, KNOWING HE'S TOO STUBBORN TO STOP, MAYBE FINALLY REALIZING THAT HE'S RIGHT, THAT NO LASTING RELATIONSHIP CAN COME OF THIS) If this goes wrong... it's on you.
SFX: DOOR RE-CLOSES. LOCK RESEQUENCES. FOOTSTEPS RUSHING AWAY.
KNIGHTBRIDGE
(SIGHS) Oh, Neelya. Since I was ten years old. (QUIETLY, BUT LIKE A SOLDIER WHO KNOWS HE HAS TO KEEP ON GOING) It's always been on me.
EMILLE SONG'S INTRODUCTION
EMILLE SONG
(NARRATION) My name is Emile Song. Special Detective. I'm a telepath. My people have been outlawed for two centuries. That's why I hate injustice. I live in Quaymet, captial of a galactic civilization, and use my talents to fight a ceaseless, some say a futile war, against greed and corruption. This is my mission. For this life and . . . out the other side. Through Dry Smoke and Whispers.
The stars overhead. Well, they give life. But their solar winds also eventually take it away. Rushing about our individual worlds, building cozy refuges, or monuments to ourselves, all meant to make us forget one inescapable truth: We are temporary beings.
Tonight, one young man hopes to make his mark. Ambition. The road to greatness. Or, in the case of one Spencer Knightbridge, prodigy apprentice to a brilliant scientist, it will be a road lit by a heart-of-the-sun-plasma-inferno. A one-man holocaust as his tread-upon heart is unleashed upon his past AND, a forsaken ghetto of Quaymet . . . during The Night of The Eclipsoid Man. 
SFX: INTERIOR. BASIL THURWOOD'S STUDY. WARM ROOM, COSY FIRE. CLINK OF GLASSES IN A TOAST.
THURWOOD & HENCHARD
To success!
THURWOOD
But more importantly, to old friends to share it with, Professor Durrick Henchard I'm so glad you'll be the first to see my new invention. Faith! A few more weeks and we may change the shape of our universe. Or at least our locations within it!
HENCHARD
I'm so excited for you, "Quintocratic Arts and Science winner, Doctor Basil Thurwood" – I can see it now in the Quaymet Gazette. We've come a long way from the orphanage, haven't we?
THURWOOD
We were lucky to be there when we were.
HENCHARD
"The Benign Overseers Orphanage for Higher Learning." I still like the sound of that.
THURWOOD
(DISAPPROVINGLY) And now it's the "East Side Academy for the Wayward". I don't know, it's all still managed by the Sisters of Unity, but the Order seems to have gone both corporate and parochial in, well, frankly, an unpleasant way.
HENCHARD
It's become a real war between the Progressives and the Traditionalists, hasn't it? And neither side really listening to the other. (TAKES A HEFTY SWIG OF BRANDY) Then and now, the Sisters were, uh, shall we say, devoted . . .
THURWOOD
Too much so, sometimes. Remember Sister D•Léna?
HENCHARD
Yes.
THURWOOD
Those metal-pin boots and indigo raven robes suited her to a T.
HENCHARD
Now, Basil, to be fair, I do accord Sister D•Léna with setting ME on the path. If she hadn't gotten ME to fly right, I'm not so sure I would be here in your sitting room today.
THURWOOD
Well, I'm glad you can be so charitable. You know, she resigned from the Sisterhood?
HENCHARD
(DISMAYED) She did? I'm sorry to hear that.
THURWOOD
Very strange circumstances. One of the orphans, well, committed suicide, in a macabre and unfortunate way. Quite the scandal . . .
(MUSES FOR A BEAT) Anyway, I couldn't wait to get out of the place. Maybe it was an indirect inspiration for what I call the . . . wait for it . . . Invertistice Eclipsoid Tesseract.
HENCHARD
(TAKEN ABACK FOR A SECOND, THEN LAUGHS A LITTLE UNCOMFORTABLY) That has an ominous sound.
THURWOOD
Because it's the sound of something that will ignite a whole new Era of Expansionism, reducing the Past to fiery ashes in its wake!
MUSIC: FOR SEGUE
SFX: THURWOOD'S LAB. THE SOUND OF THE PLASMA GENERATOR IS MUCH CLOSER NOW, THROBBING. KNIGHTBRIDGE OPENS A FAIRLY LARGE ACCESS PANEL. AS HE SAYS THE LINE BELOW, HE PARTIALLY CLIMBS INSIDE A CONSOLE. THE GENERATOR MUFFLES, HIS VOICE BECOMES MORE RESONANT IN THE CLOSE CONFINES OF THE INSTRUMENT PANEL.
KNIGHTBRIDGE
Six months! I showed you the stabilizer.
SFX: A SMALL POWER TOWEL ROTATING OUT FIVE BOLTS, PUNCTUATING THE FOLLOWING . . .
KNIGHTBRIDGE
Aaaannd...nothing. So, Dr. Blueblood Basil. Me! I'm goin' first! Gonna be so high up, walkin' between the stars.
SFX: PNEUMATIC WHOOSH AS KNIGHTBRIDE SLIDES OUT THE FIVE-BOLTED COVER AND PUTS IT DOWN ON THE FLOOR WITH A CLUNK. HE DRAGS A SMALL VALISE INTO THE SPACE AND UNZIPS IT. TAKES THE LARGE DEVICE OUT OF THE BAG AND KISSES IT.
KNIGHTBRIDGE
And you, my fast-track blitzin' Eclipsoid Stabilizer, you're just the start.
SFX: THE STABILIZER ACTIVATES AND WE HEAR A STEADY SINE-WAVE EFFECT. OMINOUS.
MUSIC: FOR SEGUE
SFX: INTERIOR. BASIL THURWOOD'S STUDY. FIRE. STILL WARM AND COZY. BASIL IS POURING ANOTHER DRINK, THEN SEATS HIMSELF IN A BIG WING BACK BY HENCHARD AS HE SAYS . . .
THURWOOD
Fifteen grants and thirty-three deep pocket investors . . . we got all of them! Dangle the plum of instantaneous travel between the stars, and private industry is falling all over itself to be first in line.
HENCHARD
(ASTOUNDED) And you say this, this Eclipsoid Tesseract will create a conduit to another world, even over half a galaxy?
THURWOOD
Yes! It turns a narrow beam of space inside out. Inverts and reverses it. I call the event an "eclipsoid," because it eclipses normal continuum. And a tesseract, as you know, is a spatial shortcut, a folding if you will between one place and another. So when the eclipsoid reinverts, whoever is in the field is instantly transported. In seconds!
HENCHARD
But what do you use for energy?
THURWOOD
That's my breakthrough! (SECRETIVELY, SUBCONSCIOUSLY LOWERS VOICE) You must keep this under your hat, Durrick! Order of the Benign OverSeers Blood Brother Oath?
HENCHARD
Oh, I'm not doing the pins again, Thurwood. You have my solemn word!
THURWOOD
Good enough! (VERY EXCITED) Durrick... I've tapped into the very heart of the sun itself!
HENCHARD
(SHOCKED) What?!
THURWOOD
A controlled wormhole gateway funnels the fusion reaction inside our own sun almost directly into the Eclipsoid Tesseract. (PAUSE FOR EFFECT) Durrick, this thing runs on literal star power! The very aether of life-giving heat and creation!
MUSIC: FOR SEGUE
SFX: CLOSING OF ACCESS PANEL. KNIGHTBRIDGE STANDS UP AND ZIPS UP THE VALISE. HITS MAIN POWER.
SYSTEM AI
Redundancy warning!
KNIGHTBRIDGE
Are ya daft, ya di-polar tin pile?! Override!
SFX: ADJUSTMENT SEQUENCE
SYSTEM AI
New component accepted and verified.
KNIGHTBRIDGE
Tops! Checkered flag goes down.
SFX: PAUSE, THEN ACTIVATION CONTROL, SEQUENCE OF ACCESS CODES FOLLOWING
KNIGHTBRIDGE
Eyes on the track, Knightbridge...
SYSTEM AI
Activation sequence complete.
KNIGHTBRIDGE
(DEFIANTLY) Alright, Quaymet. You, me. We're on.
SFX: ACTIVATES ANOTHER CONTROL, AND THE OMINOUS INFERNO SOUND RAMPS SIGNIFICANTLY.
SYSTEM AI
Heart of the Sun Gateway establishing.
KNIGHTBRIDGE
Leaving your stinkin' hulk in the stardust, you high and mighty jackboot prison planet!
SFX: ANOTHER CONTROL, LARGE SUBTERRANEAN GEARS BEGIN TO WHIR.
KNIGHTBRIDGE
I make good on this one... it'll be my life. My terms.
SYSTEM AI
Eclipsoid Tesseract Beam Projectors achieving Lock Position.
SFX: RISING OF THE THREE CANNONS WHICH LOCK INTO PLACE AT THE END OF EACH SEQUENCE. NUMBER ONE RISES. NUMBER TWO RISES. NUMBER THREE RISES. THEY CAN OVERLAP, BUT ARE TIMED IDENTICALLY. WHEN LAST ONE LOCKS . . .
SYSTEM AI
Projectors ready. Allocate destination.
SFX: THE GENERATOR NOW STARTS MAKING SOUNDS THAT ARE A PREMONITION OF WHAT'S ABOUT TO COME.
KNIGHTBRIDGE
(RAISES HIS VOICE OVER THE GENERATOR, NOT UNLIKE A SEA CAPTAIN OVER AN APPROACHING STORM. HE CHOOSES A DESTINATION AT TOTAL RANDOM.) Ohhh....M•Hellengau! There's a place. All you goth punks in the ghetto . . . here's one for ya. Storms. Island castles. Deadly secret societies. I make it to and back from there, I can deal with anything your mingin' two moons can throw at me.
SFX: THE GENERATOR RAMPS WITH A PARTICULARLY DISTURBING HOWL • • • 
SFX: • • THEN HARD OR MORPH CUT TO AN OMINOUS ALARM SYSTEM IN THURWOOD'S STUDY.
HENCHARD
What the Henth is that?!
THURWOOD
(INSTANTLY REALIZING WHAT'S OCCURRED) Oh, OverSeers, no.
SFX: THEY BOTH RISE AND THURWOOD RUSHES FOR THE DOOR, HENCHARD FOLLOWING.
THURWOOD
You fool. You fool!
SFX: THROWS OPEN THE STUDY DOOR, AND THEY BOTH RUN DOWN A HALLWAY, THE ALARM GROWING LOUDER AS THEY DO.
HENCHARD
Basil, what's happening?
THURWOOD
Spencer Knightbridge, if my guess is correct.
HENCHARD
Knightbrige? I told you he's a bad apple. I thought you let him go.
SFX: NOW THEY'RE RUNNING DOWN A METAL SPIRAL STAIRCASE.
THURWOOD
Durrick, he's a prodigy. He took my work and invented a Stabilizer that even I couldn't wrap my brain around. I told him it would be six months til we could even begin to test.
HENCHARD
Even though you were ready now.
SFX: THEY HIT A METAL FLOOR LEADING UP TO THE LAB.
THURWOOD
I wanted to surprise him. Give him credit for the Stabilizer.
SFX: THEY STOP BEFORE THE LAB SECURITY DOOR.
THURWOOD
Voice Recognition! And silence that alarm!
SYSTEM AI
Entry granted. Cancel alarm.
SFX: DOOR ROLLS OPEN. THE ECLIPSOID MACHINERY IS STILL RAMPING. ECHOING OVER IT LOUDLY IN THE LARGE CHAMBER.
SYSTEM AI
Sequence initiated. Awaiting sufficient power for Tesseract Commencement.
EMILLE SONG
(NARRATION) Moonlight filters down through the skylight dome over Thurwood's lab. Knightbridge is in a glass containment chamber, suspended at the center of a trio of silver teardrop projectors. Lambent energies flicker at the muzzle of each, in gyrating striations of propane blue, yellow and red.
SFX: KNIGHTBRIDGE'S VOICE IS AMPLIFIED BY A MIKE SYSTEM IN THE CHAMBER.
KNIGHTBRIDGE
Oh! And here he is, Doctor Basil, in the flesh! Chuffed you're here . . . to see your own history being made. And Doubting Thomas Professor Durrick. A Capital Bonus of the Day!
THURWOOD
Knightbridge, stop this madness. Come down out of there!
KNIGHTBRIDGE
So you can be the first? Sorry, old man. Dead tired of coming in last. Face it, without my Stabilizer, this whole set-up coulda ended up in the Science Museum of Crackpot Whack.
THURWOOD
(ASTOUNDED, DISMAYED) Are you saying you built another one? (REALLY HORRIFIED) Did you install it into the machine?!
KNIGHTBRIDGE
Accepted and verified!
THURWOOD
Knightbridge, I've already installed one. There are two now. They may double feedback! (SHOUTS) System, abort sequence!
SYSTEM AI
Cannot abort. System at CRITICAL. Transfer in three . . .
SFX: CUT TO KNIGHTBRIDGE, UP CLOSE IN CHAMBER. ALL OTHER SOUNDS MUFFLED. COUNTDOWN CONTINUES OUTSIDE.
KNIGHTBRIDGE
(heavy irony) Ohhh. Ain't that just the capper to my perfect life.
SFX: THE THREE BEAMS ACTIVATE. SCREAMING HOWL OF ECLIPSOID TESSERACT.
ACT TWO
SFX: SONG PLAYS THE NICKELODEON CALLIOPE. STOPS ABRUPTLY.
SONG
Mmm? Ah, a guest!
SFX: SONG RISES, ALREADY CROSSING THE ROOM AS THE DOOR WHISTLE SOUNDS. BEAT, MCKENDRICK WHIRS IN.
MCKENDRICK
Master Song, you have a . . .
SONG
(OPENING DOOR) Greetings. To what do I owe the pleasure?
MCKENDRICK
(WHIRRING BACK OUT OF THE ROOM) Why do I even bother?
SONG
(RAISING VOICE) Oh, McKendrick, would you . . .
MCKENDRICK
(CALLING BACK FROM KITCHEN) Already activating the tea maker.
SONG
Please come in, Miss . . .
ANEELIA
Demarisben. Aneelia Demarisben.
SFX: MCKENDRICK WHIRS BACK IN. STOPS AS HE LISTENS TO THIS EXCHANGE.
SONG
(SONG PICKS UP ON ANEELIA'S DIRE MOOD IMMEDIATELY.) I've heard that name. You're one of Basil Thurwood's interns.
ANEELIA
(TAKEN ABACK, INSTANTLY SUSPICIOUS) How did you know that?
SONG
We have a synchronistic connection. My agency partner is Professor Durrick Henchard.
ANEELIA
Oh, of course! Dr. Thurwood's mentioned him several times.
SONG
He's an old, old friend of Basil's and he's having dinner with him right now. (AND NOW, SONG ALREADY KNOWS SHE'S AN EMPATH AND THAT THE SITUATION IS PAST DIRE.) Excuse me, Miss DeMarisben, if I cut straight to the chase. You're here about Spencer Knightbridge. And if he's in danger, that the Professor and Dr. Thurwood are, too. I know about his project.
ANEELIA
(OPENS UP) I've done something incredibly stupid. Spence is in his lab right now . . .
SONG
(KNOWS IMMEDIATELY WHAT THIS MEANS.) NO. He's going to fire that thing up, isn't he?
MCKENDRICK
Alright. Tea unneeded. (WHIRS BACK OUT.)
ANEELIA
We've got to stop him. I think he's going to test it himself.
SONG
McKendrick!
SFX: MCKENDRICK WHIRS IN, A DEVICE HE'S CARRYING IS MAKING AN INTERESTING THRUMMING SOUND, WHEN HE HANDS IT TO SONG THE THRUMMING STOPS.
MCKENDRICK
Here's the power stick for the B & S SonoJet, Master Song. McCallister is prepping it for flight.
ANEELIA
(GOES INTO A KIND OF TRANCE, HER FACE PINCHED WITH DREAD AND PAIN.) Oh, no . . . Spencer, no.
SONG
Aneelia . . . Aneelia?
MCKENDRICK
Master Song, is that what I think it is? Is she . . .
SONG
Aneelia, tell me what's happening.
ANEELIA
(THE MOMENT PASSES. SHE COMES OUT OF IT, BUT HER EYES ARE FILLED WITH TEARS AND HER VOICE BREAKS.) It's too late. (ANGUISHED) What has he done? (HORRIFIED) What is he?
SFX: HOWL OF THE ECLIPSOID TESSERACT. SONG DROPS TO HIS KNEES, CLUTCHING HIS HEAD IN GREAT PAIN. ANEELIA GASPS, ALMOST FEELING IT WITH HIM.
MCKENDRICK
(WHIRS RAPIDLY OVER.) Master!
SFX: A SECOND HOWL. SONG CRIES OUT IN AGONY. THE HOWL FADES INTO A JUMBLE OF ANGRY VOICES. SONG PASSES OUT AND COLLAPSES.
MUSIC: SEGUE
SFX: INSIDE THE CONTAINMENT CHAMBER: OPEN ON KNIGHTBRIDGE ROARING, HIS ENTIRE BODY ON FIRE. THIS FADES INTO RAGGED GASPS. HE STABILIZES. LOOKS AT THE LAB. SEES IT AS AN IMPRINT NEGATIVE. HIS VOICE ECHOES NOW, CAUGHT BETWEEN THREE LOCATIONS.
KNIGHTBRIDGE
(AMAZED, ALSO DISAPPOINTED) I'm still here? (ALMOST BITTERLY) I'm . . . alive?
SFX: CUT TO LAB BY THURWOOD AND HENCHARD.
THURWOOD
Knightbridge? Is that you?
SONG
(NARRATES) In the Containment Chamber above stands the negative silhouette of a man. Diamond interstices of energy radiate from him in every direction, his eyes casting beams of fire, his mouth emitting effulgent radiation when he speaks. He looks down on them and they can feel his regard like tingling microwave beams.
THURWOOD
Knightbridge. Stay where you are. Maybe we can reverse this.
KNIGHTBRIDGE
(SEES HIMSELF IN THE GLASS. PONDERS THIS FOR A MOMENT) Reverse . . . a reverse? (HE ALMOST LAUGHS) No . . . I've crossed . . . no, I've burned the old Night Bridge this time . . .
HENCHARD
(UNDER HIS BREATH, IMPERATIVELY) Basil, we can't let him out of there. The radiation. It has to be at lethal levels. Can you lock him into that containment chamber?)
THURWOOD
I can. (RAISING VOICE) System, lock Containment Chamber!
SYSTEM AI
Complying.
SFX: LOUD GEARS AND SLIDING BOLT, THEN LOCK IN PLACE. A PAUSE, ALL THE ENERGY IN THE ROOM PULSING.
KNIGHTBRIDGE
I heard everything you said. (PONDERING IT, THE WEIGHT OF IT) Is it possible? Me. Quaymet's punching bag from birth . . . deadly? Lethal? . . . Beastly planet. (A HORRIBLE ANGER SETS IN, ALL THE LOSS, ALL THE PAIN, LAID AT THE DOORSTEP OF THE PLANET HE HATES ALMOST MORE THAN ANY HUMAN) You torture me. Take away anything I love. And now, the one sin I tried not to commit. Tried to be better than the assholes who beat me to the ground every day, every year. . . . Who killed without blinking an eye. No, I was better than that. And now here I am. Deadly to all around me! . . . Well . . . time for a change? (HE TAKES STOCK OF HOW HE FEELS INSIDE, SENSES THE POWER) I have rotted in so many cages . . . all my life . . . I want out.
SONG
(NARRATES) Knightbridge raised his arm. All the striating colors surrounding him pulsed forward and down his arm, glowing into a ball around his hand . . .
KNIGHTBRIDGE
I think the energy inside me . . . at this cage.
SFX: THE FIELD HOWLS, AND THE THREE LOCKING MECHANISM DETONATE AND MELT. ANOTHER HOWL AND THE DOOR EXPLODES OUTWARD WITH A SQUEAL OF METAL, WHOOSHES DOWN AND HITS THE FLOOR WITH A HEAVY CLANG, ITS GLASS WINDOW SHATTERING.
KNIGHTBRIDGE
Doctor, Professor. No grudge with the two of you. Shield yourselves.
THURWOOD
Over here, Durrick! The lead radiation slider!
SFX: THEY SCRAMBLE BEHIND IT. KNIGHTBRIDGE WALKS DOWN THE CHAMBER STEPS, THEY CREAK AND GROAN FROM ALL THE AMBIENT ENERGY.
THURWOOD
Knightbridge. Please! Don't leave! Don't expose others to this. For once, think of someone other than yourself, I beg of you.
KNIGHTBRIDGE
(INSTANTLY IRRITATED) Other than meself? . . . (BUT THEN HE CONSIDERS HIS ACTIONS) I guess that's how it would look from the outside. (BUT NOW THE ANGER RETURNS) You know, you judge. All the time. Do you know what it's like, living with cavemen. And you're their go get it boy. Say no, put up any fight and it's not a slap on the wrist. They'll end you . . . (DARKLY, UNDER BREATH)if you're lucky. (A HOWL PULSES WITH HIS ANGER) Did you know I stole from you, Basil? That I was forced to knick your laboratory, pinch your tech?
THURWOOD
I . . . I suspected it was so. But what you returned to me, Spencer. Seeing your progress, seeing your brilliant breakthroughs. I did not hold it against you.
KNIGHTBRIDGE
Well, of course. Everybody's a better man than Spencer Knightbridge, that bowery bum punk-ass disappointment.
SFX: HOWL
KNIGHTBRIDGE
Time to change that too? Maybe it's Clock Tower Time. Sending those filigree gold-carat hands round and round and round . . . backwards. Maybe I'm a mistake. I don't belong here. I don't belong anywhere.
SFX: HOWL AGAIN
KNIGHTBRIDGE
But if I shouldn't be here . . . I know me some right drug-dealing cheating kid-beating life-stealing bastards . . . that shouldn't be here, either.
SFX: RAISES HIS ARM, THE ENERGY FLOWS OUT, THE WALL OF THE LABORATORY EXPLODES OUTWARD, DEBRIS RAINING DOWN OUTSIDE. HENCHARD AND THURWOOD REACT, BUT REMAIN BEHIND THEIR PROTECTIVE WALL. KNIGHTBRIDGE WALKS THROUGH THE RUBBLE. CRUNCHING GLASS AND GRAVEL. HE STOPS IN THE HOLE, RUMINATING AS HE STANDS THERE.
KNIGHTBRIDGE
What's that old saw? You can take the kid out of the ghetto . . . (LAUGHS DARKLY) Well, now this kid . . . can take the ghetto out.
SFX: ANOTHER BOLT OF ENERGY SENDS AN I-BEAM FLYING AND IT CLANGS OUT INTO THE STREET. KNIGHTBRIDGE WALKS AWAY, THE FIELD DIMINISHING.
SFX: CUT BACK TO INSIDE LAB. WALL BURNING IN NEAR DISTANCE.
HENCHARD
(RUNNING FROM BEHIND SHIELD, AND DRAGGING BASIL WITH HIM) Come on, Basil, we've got to get out of here before the authorities arrive.
THURWOOD
But we need to report this . . .
SFX: THEY REACH THE MAIN DOOR. THEY RUN THROUGH AND BACK DOWN THE ECHOING CORRIDOR.
HENCHARD
And tell them what? An Eclipsoid Man is on the loose? We've got to back to our Agency HQ and loop in Song, before this really gets out of hand.
MUSIC: FOR SEGUE
SFX: KNIGHTBRIDGE OUT ON THE STREET. SUBDUED CITY AMBIENCE, WE'RE IN A MIDDLE CLASS SUBURB.
KNIGHTBRIDGE
I feel things . . . opening up. The city. I can feel it. All the people. (THERE'S THE FIRST HINT OF THE ECLIPSOID TELEPATHY EFFECT) It's like drowning. There's too much 'a everything all around me . . .
SFX: KINGHTBRIDGE KEYS IN ON THE ONE REMAINING PERSON HE CARES ABOUT AND WHO CARES ABOUT HIM. FADE IN AND FADE OUT ON ANEELIA'S HORRIFIED REACTION "IT'S TOO LATE." (ANGUISHED) "WHAT HAS HE DONE?" (HORRIFIED) "WHAT IS HE?"
KNIGHTBRIDGE
Aneelia. She knows. How does she feel everything. She knows.
SFX: FLASHBACK IN, FLASHBACK OUT FX
SONG
(NARRATES) Maybe it was all the power he was channeling. Something was changing deep inside. Without warning, Knightbridge was swept into a memory from his past, reliving it as if he were there. Almost as though something in his mind was trying to reveal every last truth about himself, to himself.
SFX: FLASHBACK IN.
ANEELIA
Why are you so different?
KNIGHTBRIDGE
Me? Different? Nah, common as they come. Honorary Menk. Same as all those young abandoned lads from Menkleford. Kinda took me under their wing at the Wayward Academy. Proud to be one of 'em. (THEN HE THINKS ON IT) But if I'm different, what about you?
ANEELIA
(BRIEF FLASH OF PARANOIA, HAS HE FIGURED OUT SHE'S AN EMPATH?) What do you mean?
KNIGHTBRIDGE
Hey, I've run into my unfair share of Penthouse Prunellas, and you're no High Tea pinky-waver. You care about things . . . I know you think I'm all "booky brillie" 'n all that, but why do you... fancy me? (BITTERLY, AND WITH AN AIR OF ANGRY NEAR-RESIGNATION) I am East Side and I'm startin' to fettle I will always be East Side.
ANEELIA
(WITH SOME ASPERITY) Spence, come on! On my West side, every day, I'm surrounded by rich sons of industrialists who skate through everything. And here you are. Doing the hard work. Maybe with Dr. Thurwood's help, we can both find our place. Some oasis between our two worlds. Promise me you'll be patient.
KNIGHTBRIDGE
(TURNING SERIOUS) I can't feel the Time, Neelz. That's the thing. It's like tomorrow? They say: all the time in the world. But me? I'm not feelin' it. It's like it's not there.
SFX: EXTERIOR. FLASHBACK OUT. ECLIPSOID HOWL AND KNIGHTBRIDGE FINDS HE'S BEEN STATIONARY FAR LONGER THAN IS A GOOD IDEA CONSIDERING HIS CONDITION.
SFX: EXTERIOR. WHOOP OF A POLICE SONOCAR AND AN OFFICER WITH A CAR INTERCOM. THE OFFICER IS SCARED TO DEATH, BUT HE IS TRYING TO DO THE RIGHT THING. SERVE AND PROTECT.
OFFICER
YOU! Stay still! Don't move!
SFX: EXTERIOR. WEAPON ACTIVATES AND ANNOUNCES: 'TARGET ACQUIRED.' 
OFFICER
(TO HIS SUPERIORS OVER THE CAR'S COM) Car 25 reporting. I have . . . I don't know what I have. I need backup, quick. Please.
KNIGHTBRIDGE
(REALIZING HE HAS TO STOP THIS) No. No backup. 
SONG
(NARRATES) Knightbridge raises his arm. The field flashes out. But his adrenalin intent is exponified.
SFX: EXTERIOR. EXPLOSION.
SONG
(NARRATES) The officer returns fire. But it just glances off the Eclipsoid Field.
SFX: RICOCHETS OFF, HITTING A WIFI TOWER WITH A ZAP. THEN TRANSFORMER BLOWS WITH THAT WEIRD ECHOEY FUSE BREAKER EXPLOSION SOUND.
SONG
(NARRATES) One side of the street is plunged into darkness. And then the field hits the car.
SFX: KA-THUNK, TEARING AND CRUMPLING METAL.THE SIREN STARTS TO WHOOP,BUT DISTORTS AND DOPPLERS OUT.
SONG
(NARRATES) The cruiser goes flying,the front bumper striking the Officer as he tries to dodge the field.
SFX: CUT TO: EXTERIOR. CLOSE UP AS OFFICER IS HIT BY CAR, CRIES OUT, HITS THE GROUND HARD. TRIES TO GET UP, COLLAPSES. RUSHING AIR DOPPLERING AS CAR FLIES THROUGH AIR BEHIND HIM. CUT BACK TO: ORIGINAL POV, AS CAR HITS THE GROUND IN NEAR DISTANCE AND ROLLS, FINALLY CRASHING INTO ANOTHER CAR. SECOND CAR'S ALARM GOES OFF.
SONG
(NARRATES) And in a nearby home: two witnesses watch their quiet neighborhood turn into Eclipsoid hell.
SFX: CUT TO: INSIDE HOME ACROSS THE STREET. STILL HAVE POWER. CHAOS OF THE ONGOING HEARD FROM INDOORS. COUPLE AT WINDOW.
WILLIAM
Thayna, call Capital Emergency!
SFX: INTERIOR. KEYPAD OF PHONE, MISTAKES, PANICKED REACTION, KEYING AGAIN.
THAYNA
For Penta's Hayla, Willam, I'M DIALING. I'M DIALING!
SFX: PHONE RINGING
THAYNA
Oh, the Bannister's car! And their lovely elm is on fire.
WILLIAM
Never mind their tree, what is that, that Thing in the street?! He's lit up like some kind of alien war movie!
SFX: PHONE CONTINUES TO RING
THAYNA
Oh, come on . . . ANSWER!!
SFX: PHONE CONTINUES RINGING
WILLIAM
Oh, this is not good. There's an officer down. That thing, it's stoopin' over him . . . They're both . . . glowin' all over.
THAYNA
(RUSHES OVER, REALLY ALARMED) I think it's killing him. William, go out and help!
WILLIAM
(HE'S AFRAID, NO WAY) I . . . ahh . . .
THAYNA
(LIKE SHE'S GONNA GO OUT THERE, BUT STILL, DISAPPOINTED, SHARP) WILLIAM!
SFX: INTERIOR. KEYPAD TAP AND WILLIAM'S PHONE ANNOUNCES: 'RECORDING VERIFIED.'
WILLIAM
(RELIEVED, BREATHLESS) THERE! . . . I got it all on my ToneAkai.
SFX: INTERIOR. WILLIAM RUSHES AWAY TO HIS COMPUTER, SLAPPING PHONE INTO RECEPTACLE.
WILLIAM
I'm gonna post this on Police Net Viral Videos.
SFX: INTERIOR. VERIFICATION BEEP, COMPUTER SAYS: 'VIDEO READY FOR UPLOAD.'
WILLIAM
We gotta warn the whole damn capital!
SFX: CUT TO: EXTERIOR, CARS BURNING, SIRENS CLOSING IN. PURE CHAOS.
SONG
(NARRATES) Out on the street, a shocked Knightbridge kneels by the fallen Officer.
KNIGHTBRIDGE
Oh, he's not gonna make it. Officer, I'm sorry. All this power. I don't know how to control it. (FIRST HINT OF ECLIPSOID TELEPATHY) He's got internal injuries. I wonder . . .
SFX: EXTERIOR. THE ECLIPSOID ENERGY RAMPS AGAIN
KNIGHTBRIDGE
Take my strength. My life force. Heal, damn you, heal.
SFX: EXTERIOR. APPROACHING COP CAR SQUEALS AROUND A CORNER NEARBY.
KNIGHTBRIDGE
Gotta get outta here. Hope that's enough . . . Please let that be enough.
SFX: EXTERIOR. KNIGHTBRIDGE RUNS INTO THE BURNING SUBURB.

ACT THREE
SFX: EXTERIOR. OPEN WITH THE NIGHT SOUNDS OF QUAYMET, EAST SIDE. BUOYS AND SLUGGISH LAPPING WATER FROM THE NEAR-BY RIVER THOTHBORO. SHIP HORNS.
SONG
(NARRATES) And so the long night begins. Down by the winding waterfront: the docking ports of the East Side warehouses. And one black-hole silhouette of a refugee, surrounded by a scintillating plasma field of red, yellow and butane blue.
SFX: EXTERIOR. THE ECLIPSOID FIELD FADES QUICKLY IN. KNIGHTBRIDGE IS HALF-RUNNING, THEN TAKES STOCK AND STOPS FOR A MOMENT. HE'S OUT OF BREATH MOMENTARILY, IT WAS A CONSTANT MARATHON TRYING TO STAY OUT OF SIGHT UNTIL HE COULD FIND A WAY DOWN TO THE MORE DESERTED RIVER DISTRICT.
KNIGHTBRIDGE
(BREATHING AND WALKING RAPIDLY) OK. (STILL CATCHING BREATH) This is better. Almost deserted this time 'a night.
SFX: EXTERIOR. KNIGHTBRIDGE MOVES INTO A SPACE BETWEEN BUILDINGS, USING HIS FIELD TO FLING SOME CRATES ASIDE, A BIG DUMPSTER ROLLS TO ONE SIDE.
KNIGHTBRIDGE
Where the hell do I go? How do I hide when I'm like this?
SFX: EXTERIOR. KNIGHTBRIDGE MOVES AGAIN, SHOVING PAST SOME REFUSE BINS. AND HE COMES OUT ON A CREAKING WOODEN WAREHOUSE BALCONY / DOCK OVER THE RIVER. THE WATER SOUNDS SLUGGISH, WRONG.
KNIGHTBRIDGE
(EXPERIENCES AN INSTANT SYMPATHY.) The River Thothboro. What our great capital has done to you.
SFX: EXTERIOR. SOMETHING SURFACES, GIVES A MUTATED SORROWFUL CALL, THEN SUBMERGES AGAIN. LAPPING OF THICK WAVES.
KNIGHTBRIDGE
Gah! Try livin' in that metallic smuck . . . I wonder... (HE THINKS FOR A MOMENT, LAPPING OF THICK WAVES) If I threw myself in, would I go under? Or would this field just burn it all away from me. Volcano against the Sea. Could I do it? (DARK LAUGH)
No. No. My luck, even if the river took me . . . wouldn't I just become one more hazmat poison to float downstream? So, NO . . . (GETTING A LITTLE ANGRY AGAIN) All those platinum towers, all the factory owners over there, on the other side . . . they've have done enough to your stinkin' banks, eh, old Thothboro? (ALMOST LAUGHS AT THE DOUBLE MEANING) Banks, yeah. There's the joke. We're all dying over here from the industrial sludge. But all the money we make for 'em . . . goes into their banks, over there. Clean and green...(SUDDENLY, HE'S OVERCOME BY IT ALL) Why? (AND HE SUDDENLY FINDS HIMSELF THINKING OF HIMSELF AND ANEELIA) Why is it always West or East? Penthouses or tenements? It's not fair. (A BEAT) Always split in two. Always split in two.
SFX: EXTERIOR. RIVER DRAGON SURFACES IN DISTANCE, ROARS. A LITTLE HARBINGER.
KNIGHTBRIDGE
Maybe that's the math. Just . . . erase myself. Like a bad equation on a chalk board . . . (ANGUISHED, SHOUTING IT OUT) I miss you, J(asper). You made it all matter.
SFX: EXTERIOR. KNIGHTBRIDGE WALKS OFF THE DOCK, AWAY FROM THE RIVER.
KNIGHTBRIDGE
(NOSTALGIA HITS.) Penta, the night we met. That freakin' blizzard. Just wanted was for it to take me out. But you wouldn't let it. Always doin' right by people. Always puttin' yerself on the line . . .
SFX: FLASHBACK EFFECT. EXTERIOR. WIND, WHISTLING.
JASPER
(TRYING TO REVIVE KNIGHTBRIDGE, SHAKING HIM, THEN SLAPPING HIS FACE.) Knightbridge! Knightbridge, wake up!
KNIGHTBRIDGE
(TEETH CHATTERING) Leave me alone. Go away!
JASPER
What are you doing out in this old tree fort? The Menks said you would be here.
KNIGHTBRIDGE
Let me freeze.
JASPER
The blizzard's not letting up. You're gonna die out here.
KNIGHTBRIDGE
So let me.
JASPER
No. Come on. (MAKING LIGHT) You know if you don't show up in class tomorrow, you face something worse than death . . . Sister execution.
KNIGHTBRIDGE
(GROGGY, IRRITATED) Why didn't the Menks come for me? Who are you?
JASPER
Oh, I'm just the Academy 'bad influence.' But I couldn't let you stay out here, once I heard. Now, come on. I got a friend in the dorm from the Up North. He can make sure you're OK, no frostbite.
SFX: A WHISTLING GUST OF WIND AND THE SCENE CHANGES. INSIDE THE SCHOOL. KIDS TALKING. CHIME GOES OFF, LIKE A CHURCH BELL. EVERYBODY IMMEDIATELY GOES VERY STILL. WIND IS STILL MOANING OUTSIDE. EVERY NOW AND AGAIN, THAT DAMN ROPE ON THE FLAGPOLE.
SISTER D•LENA
Class will come to order. In a moment, Roll call. But first: It seems the Quad SouthEast front door was heard opening and closing twice last night . . . far after curfew! And with a blizzard outside.
KNIGHTBRIDGE
(HE'S GOING TO TAKE THE FALL) Sister, I . . .
SFX: CHAIR SCRAPES AS JASPER STANDS UP
JASPER
(BOLDLY DECLARATIVE) Sister, it was me.
SISTER D•LENA
Jasper Pennion. I might have known. (HER VOICE GOES VERY COLD.) Reason?
JASPER
(BLITHELY) I wanted to visit a friend. In Quad SouthWest.
SFX: LAUGHTER AROUND THE ROOM
SISTER D•LENA
A friend? (SHE MAKES BOTH WORDS SOUND OBSCENE.) Fraternization . . . is not allowed. At any time, much less . . . (THE REST GOES UNSAID.)
SFX: SISTER D•LENA STRIDES TO JASPER'S DESK.
SISTER D•LENA
This is your third infraction just this month. Hand out.
JASPER
(HE REALLY DOESN'T WANT JASPER TO TAKE THE FALL FOR THIS) Sister, I . . .
SISTER D•LENA
Yes, Knightbridge?
KNIGHTBRIDGE
(KNOWS HE CANNOT BE ASSOCIATED WITH JASPER.) Nothing, ma'am.
SFX: DOWN WHISKS THE RULER, WITH SUCH FORCE A SLIGHT CRACK IS HEARD IN JASPER'S HAND.
SISTER D•LENA
(REALIZING SHE MAY HAVE GONE TOO FAR, HE'S A SMALL BOY, BUT STILL GRUFFLY, SAVING FACE.) Report to the Nurse. And be thankful I don't put you in Solitary, again.
KNIGHTBRIDGE
(COMING BACK UP AND OUT OF IT AGAIN. WE'RE BACK BY THE RIVER. IN REFLECTION, KNIGHTBRIDGE TALKS WITH JASPER.) Still wish I had stood up for you that first time. But I was such an idiot . . . still caring what the Menks thought. (bitterly) And wasn't that a,stab in the back waste of time.
SFX: EXTERIOR. KNIGHTBRIDGE TURNS FROM THE RIVER, STRIDING RAPIDLY AWAY.
KNIGHTBRIDGE
I know where to go next. I have a debt to pay you, Jasper. One small memorial . . . too little, too late. (THEN WITH GREAT ALMOST DEMONIC RESOLVE, SO ANGRY AT ALL THE INJUSTICE) But then we erase . . . all of them. High and low.
MUSIC: FOR SEGUE
SONG
(NARRATES) Bleumont Boulevard in the Neon Bowery. Headquarters of the Dry Smoke and Whispers Detection Agency. The Professor and Doctor Thurwood found me deep in delirium, Aneelia by my side.
(SPEAKING IN DELIRIUM) No . . . No, Not you.
HENCHARD
Song? Song!? This is not good. His eyes are dilated. He's in some kind of Tel... (REALIZES HE'S IN COMPANY WHO DOESN'T KNOW SONG'S A TELEPATH) . . . some kind of delirium.
SFX: THURWOOD CHECKS HIS PHONE, ACCESSES VIDEO. BRIEF MUFFLED REPLAY, THEN HE KEYS IT OFF IN DISMAY.
THURWOOD
(VERY UPSET) Well, we're already too late. There's been an incident with Knightbridge. A policeman is in serious condition. An entire neighborhood with power out and blazing fires everywhere.
ANEELIA
How can Spence even be alive.
HENCHARD
We've got to get Song awake! He's the only one that has a chance of finding Knightbridge before it all blows up.
ANEELIA
(SLIGHT PAUSE. IT'S TIME TO DO THE RIGHT THING) Maybe . . . maybe he's not the only one, Professor Henchard . . . I . . . (THIS IS HARDER THAN SHE THOUGHT) I'm an Empath. And it's clear to me that Detective Song is . . .
THURWOOD
(HEARD DURRICK'S SLIP EARLIER, INSTANTLY PUTS TWO AND TWO TOGETHER, SAYS IT ALMOST GINGERLY). . .Telepathic? Oh, that explains so much. Durrick . . . why didn't you tell me. You know I would keep that secret as if, well, blood oath, my friend.
HENCHARD
(DISMAYED THIS IS ALL HITTING NOW, MORE COMPLICATIONS) It wasn't my secret to tell, Basil. Permanent exile from Quaymet . . . Penitentiary Planet, anyone? People who even know can be prosecuted and sent away. (BITTERLY) Or just disappear. (ANEELIA REACTS INVOLUNTARILY, SOME MEMORY OF GREAT PAIN. HENCHARD READS IT AND KNOWS. INSTANTLY SYMPATHETIC.)
ANEELIA
(OVERCOME) How did you know?
HENCHARD
It seems we've both had dealings with the Quintara. (THEN HE HAS AN INTUITION, TAKES HER HAND) You lost someone.
ANEELIA
My brother . . . They took him. They told us he was dead. I know he's not.
HENCHARD
There's no time now, but know this, you're among friends. And allies. Song and I will help you. But, But right now, thank you for being brave enough to tell us this. It may make all the difference.
THURWOOD
Durrick, I hate to interrupt, but... (HE SIGHS DEEPLY, WITH GREAT WORRY, DIRELY) I think I've figured out part of what has happened with Knightbridge and well . . . it's . . . not good. Time is not on our side.
HENCHARD
Then reaching Song is even more imperative. And, Aneelia! You can already help me. I'm trying to remember something Song told me. Something about just this kind of situation . . . (RACKS HIS BRAIN, CAN'T UNLOCK IT) What was it?!?
ANEELIA
I don't know Detective Song, so there's no way I can read him, just his delirium. Close your eyes and think about that moment in the past.
SFX: ANEELIA'S EMPATHY EFFECT
ANEELIA
Mmm. I feel . . . you're overwhelmed. It's almost too much information. You're kind of resisting the metaphysical stuff.
HENCHARD
(LAUGHS) Had to get over that.
THURWOOD
Please! Hurry. It's not just Knightbridge. We've got far more at stake.
ANEELIA
And . . . (AMUSED BUT IRRITATED) you've just appraised something.
SFX: HENCHARD JUMPS UP SUDDENLY AND STARTS GOING THROUGH SONG'S VEST POCKETS.
HENCHARD
That's it! The ring! The ring! (FINDS IT, HOLDS IT UP) Here it is! He said this ring is a conduit. His father gave it to him in M•Hellengau . . . if I touch the center, the family crest . . .
SFX: ECLIPSOID HOWL. NEXT STOP: THE NEON BOWERY. KNIGHTBRIDGE BEING THROWN INTO A PILE OF TRASH CANS.
WATCHER
(GOOD NATUREDLY, LIKE HE'S TAKEN A TRUANT STUDENT TO TASK. TO HIS ALLY LOOKING ON.) He's not payin' the rent, Aiden K!
AIDEN K
(LOADED AND DARK-CORED, THERE'S A SILENTLY TICKING ENTROPY TO THIS GUY) Watcher, My good man. He's a lousy complainin' good-for-nothin' little punk, fact there. I should know.
SFX: WATCHER REACHES DOWN AND PULLS KNIGHTBRIDGE BACK OUT OF THE CANS.
WATCHER
Mistra Knightbridge. Zipper Man. What we be havin' here is a little communication breakdown, don'cha know. We say get it. You zipper it on up and you bring it on in. That's our deal.
KNIGHTBRIDGE
(DEFIANTLY, ANGRILY) I got you the stash!
WATCHER
This is only half the oweance. Aiden, my man, didn't I say: a full lid of the finest stingersticks?
AIDEN K
A full lid. I taught 'em better 'n that.
KNIGHTBRIDGE
Look, I can't knick any more equipment. Doc Basil is keen, get it? I get the pink slip over "missing inventory," and it's done. (GETTING A LITTLE COCKIER THAN HE SHOULD) No more free ride!
SFX: WATCHER BACKHANDS KNIGHTBRIDGE, HARD. SUDDENLY DANGEROUS, HE ACTIVATES A VIBEKNIFE.
WATCHER
You callin' the Watcher a freeloader?
KNIGHTBRIDGE
(EMPHATICALLY) No! (GRUDGINGLY) No, sir.
WATCHER
Guess we just gonna have to give you another back 'a the ear reminder.
SFX: VIBE-KNIFE SWIPE. RED-HOT POKER PAIN. KNIGHTBRIDGE CRIES OUT.
WATCHER
Now you 'fettle' this right proper, Mr. Menker man . . . we can nose you out like a slenth in a sewer hole, no matter where you be!
SFX: VIBE KNIFE OFF, HOLSTERED.
WATCHER
This ain't even fun anymore. This just be gettin' old.
SFX: WATCHER WALKS AWAY HEAVILY DOWN THE GRITTY ALLEY.
WATCHER
(CALLS OUT, OVER HIS SHOULDER.) Aiden, you take it again from here.
SFX: WATCHER WHISTLES NONCHALANTLY WALKNG AWAY FROM US DOWN THE ALLEY. BEAT, AIDEN WALKS OVER.
AIDEN K
(SOUNDS CONCERNED AT FIRST.) Spencer, Spencer, Spencer. You know better than to be mouthin' the Man.
(CHANGING, GRIPS KNIGHTBRIDGE BY THE THROAT, CHOKING HIM, AND SHOVES HIM UP AGAINST THE GRITTY WALL.) So glad I put that GPS in your brain. You belong to ME. Forever. So no back-talkin' to the Watcher, right? Got it?!. Ya GOT IT?!!
KNIGHTBRIDGE
(A BEAT, THEN WITH DEEP RESENTMENT AND THINLY VEILED VENOM) Yes.
AIDEN K
(TIGHTENS HIS GRIP) Yes, what?!
KNIGHTBRIDGE
Yes . . . Father.
AIDEN K
(IN LOW VOICE) Keep this up? Where your Mother went after she left us high and dry . . . You won't get it outta me. Great big galaxy out there. And only I know where she went.
MUSIC: FOR SEGUE
SFX: JOINED TELEPATHY AND EMPATHY FX RETURN.
SONG
(SPEAKING) Oh, thank the Creators, I'm out.
ANEELIA
(IN TEARS. TO HERSELF) My Spence. Why didn't you tell me how bad it was?
SONG
(NARRATES) We all came back at once. The ring had broken my connection to Knightbridge's memories. But not before Professor Henchard and Aneelia had also witnessed just a part of what I had endured for almost an hour.
HENCHARD
Oh, Sisters of Mercy. Song, did, did we just re-live one of Knightbridge's recent memories?
SONG
(SONG TOO IS DEEPLY AFFECTED. SPEAKING) In living color.
SFX: AN ELEVATOR ARRIVES WITH A SINGLE DEEP RESONANT BELL. THE DOORS SWOOSH SMOOTHLY OPEN.
SONG
(SPEAKING) Alright, everyone in the elevator. we'll have to sort all this on the wing.
SFX: THEY ALL COMPLY. HENCHARD DOES NOT LIKE HIGH-SPEED FLYING, SO HE SAYS WITH DISTASTE AS THEY ENTER THE LIFT.
HENCHARD
The Belgren-Serns SonoJet?
SONG
(SPEAKING) You know it.
SFX: DOORS SWOOSH SHUT AND ELEVATOR DROPS DRAMATICALLY.
MUSIC: BRIEF SEGUE.
SFX: INTERIOR OF SONOJET. ENGINES ARE RAMPING UP.
SONG
(SPEAKING) So now, Basil, straight up: how dangerous is our current situation, as long as Spencer Knightbridge stays alive?
THURWOOD
Then you've figured it out. Why we must find Knightbridge and... and somehow undo all this.
ANEELIA
(SHE SUDDENLY GETS IT TOO) Oh, Shards. Both tesseract conduits are open. Fixed open by his very existence. His failed destination . . .
SONG
(SPEAKING) And I can tell you what that was. In some kind of bizarre quantum synchronicity, he sourced M•Hellengau. It's the place where I was born. That's why such a primal link was formed.
THURWOOD
And, and the delirium?
SONG
(SPEAKING) The second he was linked to the M•Hellengau conduit, I was connected to it and Knightbridge's subconscious. And I couldn't get back out!
SFX: A REPEATING KLAXON SOUNDS THREE TIMES. THEN VERY LARGE ROLLING MECHANISM ECHOES UP FROM A TUNNEL AHEAD OF THEM.
SJ CONTROL SYSTEM
Rotary access opening. Launch tunnel ready.
HENCHARD
(THE OTHER PENNY DROPS, AND HE SAYS IN HORROR) Wait! The other open conduit . . . is the one connected to the heart of the sun?
THURWOOD
That's where Knightbridge's deadly plasma energy is coming from. And, these tessarae are meant to be open for seconds, not hours. They could collapse on their own at any time.
HENCHARD
Basil, what if either connection is severed violently, such as a, a military action . . .
ANEELIA
Then Quaymet becomes connected with its own sun. Through an unstable wormhole in the middle of the Capital.
SONG
(SPEAKING) Pure core fusion pours through like a butane pilot light, ignites our atmosphere and whoosh, Quaymet becomes a temporary second sun. NOT the best way to get that perfect summer tan.
SJ CONTROL SYSTEM
Ready for launch.
SONG
(SPEAKING) Here we go. Engines, engage.
SFX: CUT TO REVERBED LAUNCH TUNNEL. THE SONOJET ROARS PAST US AND DOPPLERS UP INTO THE NIGHT SKY.
ACT FOUR
SFX: NIGHT SOUNDS OF QUAYMET, EAST SIDE. CRICKETS. THE RANDOM TANG-TANGING OF A ROPE AGAINST A HOLLOW FLAGPOLE. THEN THE CORUSCATING FIELD SURROUNDING KNIGHTBRIDGE RAMPS IN AS HE WALKS UP ON GRAVEL.
KNIGHTBRIDGE
Well, here it is. The East Side Academy for the Wayward. Gated and locked up at night like a baroque prison camp. Oh, those high stone walls . . .
SFX: WHISTLE OF WIND
KNIGHTBRIDGE
. . . To keep its wards safe . . . or keep them safely in.
SFX: HOWL AND A SURGE. KNIGHTBRIDGE STRIDES INTO THE GROUNDS AND UP A FLIGHT OF CONCRETE STEPS.
KNIGHTBRIDGE
And there it is. Where my life ended, in a way.
SFX: HE STOPS IN FRONT OF THE FLAGPOLE, LOOKS UP AT IT.
KNIGHTBRIDGE
A flagpole. Fly your colors! Take heart, young sinners, you belong! Gold on Indigo! The Order of the Benign Overseers will keep you safe within these walls . . . your Family! . . . but only if you become just like us.
SFX: FIELD SURGES
KNIGHTBRIDGE
But we couldn't do it, could we, J.
SFX: THE ECLIPSOID FIELD RAMPS AGAIN. FLASHBACK IN. ACADEMY CHIME RINGS. SECLUDED LIBRARY ROOM. CLASSES HAVE LET OUT FOR RECESS. WE HEAR THE CHATTERING STUDENTS MUFFLED IN THE HALLWAY FOR A STRETCH, THEN THAT FADES AWAY UNDER THE FOLLOWING.
KNIGHTBRIDGE
How did the sisters lose track of this library annex?
JASPER
I don't know, but it's the perfect lunch-period sanctuary, isn't it?
SFX: JASPER TRIGGERS A LARGE MECHANIZED BENTO BOX. IT ANNOUNCES 'YOU ARE MOST WELCOME, FROM T•KAIYO CAFÉ.' THEY BOTH TUCK IN.
KNIGHTBRIDGE
My alleyway get-it guy. Good sushi. What's up, your next class period?
JASPER
Oh, MeeYenta's Shell, gym class. Gotta be some way out of it.
KNIGHTBRIDGE
(SUDDEN INSPIRATION) Hey! You could check out the locker baskets. Then you can stay in the locker room. No sports. You'd have almost an hour to . . . write your poetry. Start that short story you've been avoidin' for months.
JASPER
Oh, Knight . . . henth, no. I can just hear the jocks: "hey, Jasper, how 'bout I stick you in my basket so you can lick my sweaty socks til I get back." And that would be before the punching begins . . .
KNIGHTBRIDGE
So Sorry, J . . . I keep forgetting.
JASPER
You got the Menks, they don't mess with you.
KNIGHTBRIDGE
Oh! J, I have something for you.
SFX: JEWELRY BOX ROTORS OPEN WITH MINIATURE GEARS
KNIGHTBRIDGE
My mother gave me this and now I want you to have it. She said it's called an OverSeer Ring.
JASPER
Oh, that's the most beautiful thing I've ever seen . . . it's too beautiful. I'll lose it.
KNIGHTBRIDGE
(HE ALMOST CHOKES UP, SOME MEMORY FROM HIS PAST) That's just it. Once you put it on, you can't. I lost it on a hiking trip way up in the Vorga Cascade and the next morning, there it was on my finger again. She said: There's an inscription under the crest that reads: "Speak Truth and the OverSeers will Free the Sun."
JASPER
(MOVED TO TEARS) I swear, if it weren't for you, I think I'd just curl up in a ball and die. (HE THINKS FOR A MINUTE) I think you're the only person who's never busted my chops for something.
KNIGHTBRIDGE
Oh, come on. You're tougher than that. Remember the one thing the Sisters are right about: As you do, so you reap. What does this lot know of writers, or, or poets. People that can show you a bigger world than just what's under your bleedin' nose everyday. You're going to be known. They hate that. Both of us . . . we're going to show them all in the end.
SFX: FLASHBACK OUT BUT EXTENDED. REVERBED, OVER IT: KNIGHTBRIDGE IN THURSTON'S LAB CHANTING: 'BLOOD AND ASHES, 30 LASHES'... THEN OUT INTO ONE MORE LESS PLEASANT MEMORY.
SISTER D•LÉNA
(HORRIFIED, ANGRY, DISAPPOINTED) I know about the two of you! Oh, Jasper I can understand. I've tried in every way to set him right. For years. But I've given up. He is a Faithless reprobate.
KNIGHTBRIDGE
Where is he? What have you done to him now?
SISTER D•LÉNA
He's in the Solitary Hole! You and your rash actions put him there!
KNIGHTBRIDGE
(ANGUISHED) No! It's not his fault. Punish me. Let 'im out!
SISTER D•LÉNA
So he can continue to lure you off the straight and narrow? I think not. (EARNESTLY) You still have a chance. Renounce him . . . and this mortal sin . . . and come back to us. Save yourself.
KNIGHTBRIDGE
(HER CONCERN ONLY TRIGGERS HIM) Save meself? The only thing we need saving from is you. You and this hypocrite prison camp. Benign OverSeers, my backside. You like to lord over us as if you were OverSeers yourselves. But you're not. You're just sadistic sad spinsters in blue jail-guard robes.
SFX: HE'S PUSHED HER TOO FAR, MISUNDERSTANDING HER CONCERN. SHE SLAPS HIM, HARD.
KNIGHTBRIDGE
(A BEAT, TO HIS MIND, MIGHT AS WELL BE WATCHER. HE'S ALMOST BREAKING DOWN NOW, DEFIANT, ANGRY AND DESPERATELY WORRIED ABOUT JASPER) There, ya see? Theres your love. And I want nothing to do with it.
SFX: FLASHBACK OUT. ECLIPSOID FIELD PULSING.
KNIGHTBRIDGE
A flagpole. Just a hunk 'a metal. But this is where you died . . . (ANGUISHED) I told you I was coming back. Still doesn't make sense. But the note. It was your writing. (WITH AFFECTION) Such a jail yard facilitator, ya little wheeler and dealer. Ciggies. Booze. Even the Menks loved ya . . . for a while . . . And oh, Penta, all your books . . . Pilfered here, there and everywhere . . . And your writing. That elegant cursive . . . where did all that come from? . . . (GIVES INTO THE GRIEF AT LAST) . . . And why is it gone?
SFX: FLASHBACK OUT. FIELD SURGES.
KNIGHTBRIDGE
(OVERCOME WITH THE MEMORIES, KNIGHTBRIDGE LOOKS UP AT THE SKY.) Jasper! . . . I'm so sorry . . . Forgive me!
SFX: HOWL OF ENERGY LASHES OUT. THE POLE CREAKS, MELTS, CRUMPLES, HITS THE GROUND WITH A HOLLOW THUD. ANOTHER WAVE OF ENERGY, AND IT BUBBLES AND MELTS INTO THE GROUND.
KNIGHTBRIDGE
Ashes to ashes, dust to dust. Bye, J . . . (QUIETLY, RESIGNEDLY, IN A PAUSE OF THE POWER THAT SURROUNDS HIM) I still love you.
SFX: CUT TO: INTERIOR. SONO-JET. COCKPIT AMBIENCE, SONAR, POWER THRUM.
THURWOOD
Well, we're in the air, but now what? Emille, can't you find Knightbridge with your, your telepathy?
SONG
(SPEAKING) I'm honestly afraid to try. I'm afraid of getting pulled back in, and not getting back out.
SFX: LOUD ANGULAR ALARM
SYSTEM AI
Perimeter Alert
SFX: MILITARY JETS RUSH UP
HENCHARD
WHOA, SONG! Bogies at 5 o'clock!
SONG
Nav, Hard left! Evasive!
SFX: THE SONOJET VEERS, ENGINE PITCH ALTERING DRASTICALLY. THE TWO MILITARY JETS SCREAM BY, DOPPLER AWAY.
SONG
(SPEAKING. DISMAYED, ANGRY AT FATE) That was Air Power Strike Force. FRECK.
The big guns are on the hunt.
(NARRATING) High in the skies over the Capital,I made a frantic call to STAFF, Quaymet's most powerful military force, and my personal friend and ally, Field Commander Gregson.
GREGSON
(OVER INTERCOM IN THE SONOJET) Sorry, Song, Air Strike's already on it. This Knightbridge Eclipsoid-whatever-he-is, nearly killed a police officer, and now we have valid reports that ah, ah (HE'S READING THE REPORT) East Side Academy is under attack.
HENCHARD
(RAISING HIS VOICE) Hold on, The Academy for the Wayward?
GREGSON
Yeah, that's it.
THURWOOD
Why would he go there?
HENCHARD
Oh, I don't know. Fanatical sisterhood, gated campus. It's not the same place we knew, Basil.
SONG
(IMPATIENTLY) At least we've got a location. Look, Commander, if any action is taken against Knightbridge, it's game over. You can kiss the whole damn planet goodbye. Here's the Intel . . .
MUSIC: SEGUE
SFX: KNIGHTBRIDGE WALKING AWAY. THEN SIRENS BECOME APPARENT.
KNIGHTBRIDGE
We have honored the dead . . . (HE STOPS, LOOKING BACK AT THE ACADEMY) Schoolyards . . . That’s where it all starts. All buddy, buddy, pal, pal. 'Til you cross some unseen line in the sand.
SFX: FLASHBACK IN. TWO MORE MEMORIES. BETWEEN CLASSES, KID CHAOS, THEN IT QUIETS. KNIGHTBRIDGE ACCESSING LOCKER.
SNECKER
Hey, Bridgers, wait up . . .
KNIGHTBRIDGE
Snecker, what's up it?
SNECKER
Eh . . . that's just it . . . It's your friend. Your facilities guy . . . Pennion.
KNIGHTBRIDGE
(HE KNOWS WHAT’S COMING, DEFIANT) Yeah? What about it?
SNECKER
Ain't cool. Don’t be baggin' yer bagger . . . ya know? 'Fraid we're havin' to cut you loose . . . rest 'a the guys just wanted to beat ya both up, but I thought you deserved some slack . . . but, ya know, don't come 'round no more. OK?
SFX: SNECKER WALKS AWAY DOWN HALL, WHISTLING OFF KEY
SFX: FLASHBACK OUT. AND WE'RE BACK IN THE PRESENT. BRIEF PAUSE. FIELD PULSES.
KNIGHTBRIDGE
'N there you are. This line here. That line there. Then it's all just cavemen again. Dukin' it out over dinosaur barbecue, 'n who gets the biggest rib. First it's food. Then it's territory. Worst of all: Family. Then you stick a flag up init and it's . . . War . . . Me. My kind first. At any cost.
SFX: JETS NEARBY
KNIGHTBRIDGE
Time to go. (NOW FOR ANOTHER MISSION) Let's start with the lackeys. "We was just following orders. We didn't light the ovens. We just shoved everybody in."
SFX: A HARSH QUAYMET VERSION OF HELICOPTER. BLACK OPS SPECIALS, LIKE A HORNET.
KNIGHTBRIDGE
So, swaggering commandant wanna-be, Cottonmouth. And your little aide-de-camp, Stang.
SFX: ECLIPSOID TELEPATHY
KNIGHTBRIDGE
Ah! These powers. They just keep opening up. What in M•Hellengau are they doing to me? What am I becoming?
SFX: AN ECLIPSOID VERSION OF THE TELEPATHY EFFECT COMES INTO PLAY
KNIGHTBRIDGE
Oh, this is right amazing. I can see, miles away. I can find you . . . just by thinking about it . . .
SFX: ECLIPSOID SURGE AND TELEPATHY EFFECT
KNIGHTBRIDGE
Cottonmouth. Stang. Show me where you are . . .
SFX: ECLIPSOID LONG HOWL, AND A NEW SETTING OPENS UP. SOUNDS LIKE SOME KIND OF DARK, DEMENTED CARNIVAL.
SONG
(NARRATES) The Diamond Icicle. An illicit Mudd Club for Quaymet's Goth and buzzcut cliques. Where the disenfranchised offspring of both poor and rich find strobe light cubicles or velveteen arenas for any manner of chemically induced indulgence.
SFX: AN ANNOUNCEMENT FROM A STAGE NEARBY: "WELCOME, DIAMOND ICICLE PATRONS. TIME FOR THE FLAVOR OF THE NIGHT! GET READY TO CRAWL AND DOGGIE DOWN TO THE SKULL-RIPPING RIFFS OF IRASCIBLE FOMENT . . ." UP CLOSE, SOUND OF A HYPO.
STANG
(BEAT) Whooaaah. Oh . . . Cottonmouth, my man. This is superior.
COTTONMOUTH
Best Locker’s Thraw I ever got off a dead man . . . hey, Stang, let's kick this joint. Foment's a broken ankle. You, me, we got Brainiac Fish to fry.
SFX: DOORS SWOOSH OPEN, AND WE'RE BACK INTO THE QUAYMET NIGHTSCAPE. DOORS CLOSE BEHIND THEM. BAND SETTING UP COMES THROUGH ON TINNY SPEAKERS ON THE OUTSIDE OF THE BUILDING.
STANG
Oh, Stankers, yeah. Time to catch up with that Raggedy Ear Knightbridge. Where do ya think we'll find him this time?
SFX: CAR UNLOCKING BEEP, GULLWINGS RATCHET OPEN, THEY CLIMB IN, DOORS CLOSE.
COTTONMOUTH
Let's find out.
SFX: HITS SEQUENCED CONTROLS ON A WRIST DEVICE.
COTTONMOUTH
With the GPS Bridger's old man had installed into his Medoolio Oblonggotcha . . .
SFX: SONAR PINGING AS IT LOCATES. THEN PAINFUL SQUEAL OF FEEDBACK. BOTH REACT. NEXT. THE DEVICE SHORTS OUT ENTIRELY, BURNING COTTONMOUTH'S ARM. THE DOORS LOCK.
SFX: CAR COMPUTER: DOOR LOCKS ACTIVATED.
SFX: HOWL OF ECLIPSOID FIELD FILLS THE CAR, FOLLOWED BY KNIGHTBRIDGE'S AMPLIFIED VOICE.
KNIGHTBRIDGE
STANG. COTTONMOUTH. No need to find the Brainiac Raggedy Ear. He's already found . . . you . . .
SFX: HOWL OF ECLIPSOID FIELD BECOMES A ROAR.
MUSIC: SEGUE
SONG
(BACK IN THE SONOJET, SPEAKING ON THE COMMUNICATION SYSTEM) So, Commander Gregson, that's what we're up against. Can you relay this info up and down the chain and control it?
GREGSON
Look, Song. I can't fight you on the science . . .
SONG
But . . . you've got troops with itchy trigger fingers, spoiling to take on the, the perfect video game antagonist.
GREGSON
Now you got it. I can send out the order: No weapons fire of any kind. But this is a dumpster fire, and my troops are the kerosene.
SONG
(ALMOST RESIGNED) And who can blame them. (THINKING ON FEET) Okay . . . But just let me get to Knightbridge first. Deal?
GREGSON
You got it.
SONG
Song, out.
ANEELIA
(URGENTLY) Detective Song, something's really wrong. Spence, he's not at the Academy.
SONG
What?! There's no way he can move that fast.
THURWOOD
I don't think you have any choice. You've got to use your telepathy.
SONG
(BRACING HIMSELF) OK . . . gotta try.
SFX: STRONG TELEPATHY EFFECT.
SONG
OK. OK. I can sense him now without getting trapped. (THEN ASTOUNDED, ALMOST ANGRY) He's miles away! Thurwood, can Knightbridge teleport?
THURWOOD
(FLUSTERED, DISCOURAGED AND GUILTY) He's, he's connected to teleport conduits.
SONG
Point . . . (EXASPERATED) Wow. He's over by the wastelands. Changing course.
SFX: JET VEERS DRASTICALLY, PICKS UP SPEED.
SONG
And putting on the boosters.
SFX: FIELD IN FULL RAMP. SWIRL OF POWER AS . . .
SONG
(SPEAKING) Knightbridge materialized in primary fire right in front of the car. He slams his hands down on the hood
SFX: BANG!
SONG
(SPEAKING) and the metal began to glow. And then, this black hole specter he leaned towards them, grinning, the fiery plasma coruscating out of his mouth as he spoke.
KNIGHTBRIDGE
Old friends . . . I was just visiting our alma mater. How's the buzz of that Locker's Thraw wearing now?
STANG
(PANICKING) Oh, Cottonmouth. Tell me this is a bummer trip, man. We're just hallucinatin' this, right?
COTTONMOUTH
(ALWAYS THE ONE TO TRY TO BLUFF HIS WAY THROUGH ANYTHING) What are you? You're not Knightbridge.
KNIGHTBRIDGE
Oh, Cottonmouth. How can you say that . . . when we've known each other so well . . . its a violation. So lets go . . . a small trip down Memory Lane . . . Just the two of us.
SFX: HOWL OF ECLIPSOID ENERGY. FLASHBACK MIC AMBIENCE.
COTTONMOUTH
(SADISTICALLY) Your father said . . . I can do to you whatever I want. Stang, cuff those trouble-makin' hands behind his back.
SFX: STANG CUFFS KNIGHTBRIDGE ROUGHLY. COTTONMOUTH CIRCLES HIM, BOOTHEELS IN THE ALLEY GRIT.
COTTONMOUTH
Now whack him. (STANG HITS HIM IN THE BACK OF THE LEGS, KNIGHTBRIDGE DROPS TO HIS KNEES PAINFULLY). That's right, down on your knees, Jasper lover.
Stang: Disinterator?
SFX: LETHAL GUN BEING ACTIVATED.
COTTONMOUTH
So time to do everything I want. Or Stang here will vaporize you.
SFX: STANG CRANKS THE GUN, BUZZ SAW WHINE HEIGHTENS. SPIRAL BACK OUT TO THE PRESENT.
COTTONMOUTH
Get out of my head! (PANICKING, ALMOST HYSTERICAL) GET OUT OF MY HEAD!
STANG
Is he reading your mind? Is he reading your mind? You can't let him know! Stop him! YOU'VE GOT TO STOP HIM!
SFX: COTTONMOUTH HITS STANG HARD ON THE JAW.
COTTONMOUTH
Shut up! 
SFX: EXTERIOR. FLASHBACK AMBIENCE OFF.
KNIGHTBRIDGE
(ELATED AT FIRST) Oh, I smell secrets. (BUT THEN: AN EPIPHANY: ALL THE LITTLE PIECES THAT DIDN’T FIT ARE FALLING INTO PLACE. JASPER GIVING UP? THE RING, MISSING?) Cottonmouth . . . Stang . . .
SFX: THE ECLIPSOID FIELD RAMPS OMINOUSLY.
KNIGHTBRIDGE
Show me everything . . . I . . . must . . . not . . . know.
RIR BREAK
HOST CLOSE
This is Re-Imagined Radio. Our guest-curated episode is Part 1 of "Night of the Eclipsoid Man," written and produced by Jerrel McQuen and Marc Rose. Next month we offer Part 2 where Spencer Knightbridge discovers the brutal ghosts of his past have robbed him of all he hoped to be or love.
The cast included
Mark Hamayoun (HOM-ah-youn)
Toni Lima
Tyler Boruff
Greg Alexander
Chris Porter
Linda Goertz
Eric Newsome
Pat Blem
and Mason Skyler
"Night of the Eclipsoid Man" was written Jerrel McQuen.
Sound Design, Original Music Composition, and Post-Production by Marc Rose.
Graphics by Jerrel McQuen and Holly Slocum.
We produce Re-Imagined Radio with support from KXRW-FM (Vancouver, Washington) and KXRY-FM (Portland, Oregon).
Episodes are archived at our website, reimaginedradio DOT FM.
This is John Barber, producer and host. Thank you for listening.
MUSIC: RIR THEME UP, THEN DUCK UNDER THE FOLLOWING
ANNOUNCER CLOSE
SFX: RECORDED ANNOUNCER CLOSE
ANNOUNCER
This is a production of Re-Imagined Radio. Our radio broadcasts are heard on local, regional, and international community radio stations.
For on demand streaming, point your browsers to our website, reimaginedradio (all one word, no punctuation) DOT FM.
Thank you so much for listening, and please, join us again for another episode of Re-Imagined Radio where we will continue our exploration of radio storytelling.
MUSIC: RIR THEME UP, AND TO END