Production reminder

Since this Blog is for the development of the ‘Macbeth’ concept rather than specifically to fulfil the criteria for the 216 module it will carry on even when the http://macbethproject.wordpress.com/ blog has stopped. This will continue at least until the end of the production for the 6th and final episode of the original series.

Formorian question

Given that I am also drawing from Celtic, Irish and Scottish mythology as well as from Shakespeare I am given to briefly ponder the connection to the Formorians.

 

 

In Irish mythology, Formorians were a race of demons that ruled Ireland before men came and drove them out. They had the proportions of a man but the skin of a bear and the face of a goat.

 

I have often drawn in my workbook for 213MC designs for Formorians in the series and even referred to them in the radio drama in episode 3 hopefully to be produced and broadcast this summer.

 

Now I have to develop the concept a little further. If Formorians, ‘like all other magical creatures’ come from the world of Fae then how am I to sculpt them into the storyline and world? I drew in my workbook a map for a nation called ‘Formoria’. This is a bit silly and I would certainly like to give it a better title than that but for right now that will do.

 

I am given to the idea that Formorians in Ireland were not their entire race but where rather a colony that had come over through the rifts and settled in Ireland, only to be driven away by the invading proto-Irish.

Irish mythology also speaks of a Formorian leader, a giant called Balor whose gaze killed all those it fell upon. This gave him the title ‘Balor the Evil Eye’.  I have plenty of sketches of him in my workbook as well, also using his visage in the flash artefact.

How would be relate to a radio drama? Could he be a possible rival for Oberon as a villain?

Given that in mythology Balor was killed, that would leave the Formorians leaderless. Would it be possible that Oberon could be using the Formorians and mercenaries in his armies after their fall?

Music galore

Developed by Nicholas Peters, the new theme will be used in the pilot episode.

A soundtrack is also in development, by Simon Gumbleton. Once these BGM’s are complete they will incorporated into the pilot episode on Source Radio.

Final Pilot Script

Reformed and refined!! 8D

Part 1: Method in the Madness

—————————————————————-

(To begin the saga, there is to be mysterious sounds, distant whispers just heard over harsh winds. These whispers eventually fade away to be replaced by the gong of Big Ben and the sound of regular traffic. Panning down this is replaces by the snapping of many cameras and the low murmur of conversation)

Sound effect#1: (distant whispers)
Sound effect#2: (wind)
Sound effect#3: (BigBen – striking)
Sound effect#4: (Traffic)
Sound effect#5: (Conversation)
Sound effect#6: (camera snapping)
—————————————————————-
Vicky Bianca: Good luck girl. Knock them dead.

Rachael Montague: Oh I intend to Vicky. Thanks.

(pause in dialogue)

Welcome, welcome. Financial backers, heads of state and members of the scientific community. You are here today to bare witness to a breakthrough that will rewrite accepted science and history both.

(She cuts into the noise background, the conversation dying down as she speaks)
—————————————————————-

Rachael Montague: For years now, any attempt by science in the field of advanced quantum mechanics has been experimental and largely unexplored for other more profitable ventures. But today… you will witness for the first time in human history, a stable wormhole generated and sustained.
I would like of course to thank University off Westminster for its facilities and the government of the United Kingdom for the loan of the stone of destiny, a high valued relic of ancient Scotland as the background radiation has from which has proven essential.
—————————————————————-

Prime Minister: Just make sure you don’t chip it, Miss Montague

Sound effect#7: (laughter)

—————————————————————-

Rachael Montague: *chuckles, although forced for the affect of the press* No no Mr. Prime Minster, be reassured that the artifact itself will be preserved. My machine will only draw away the residual trans-dimensional energy that I discovered on it.

—————————————————————-

Press #1: Miss Montague, Sutton Gardener, News of the World… you say, residual energy. Do you mean that the stone is not the source of energy itself?

—————————————————————-

Rachael Montague: No… only that at some point it came into contact with a source of trans-dimensional energy so acute that its residue lasted for centuries. What that original source was is still up for debate but regardless, this opportunity for a leap forward in human understanding of wormholes.

It is said that to generate a hole in time and space, the energy of a million suns would be needed to sustain it for even a fraction of a second.

—————————————————————-

(there is now a hushed silence, all background noise accept for her machine die away)

Sound effect#8: (hushed whispers)
Sound effect#9: (machine noise1)
—————————————————————-

Rachael Montague: I beg to differ

—————————————————————-

(There is the sound of footsteps approaching a machine, then fingers on buttons, the building hum of power.)

Sound effect#10: footsteps (left)
Sound effect#11: footsteps (right)
Sound effect#12: (button clicks)
Sound effect#13: (machine noise2)
Sound effect#14: (machine noise3)

—————————————————————-

Rachael Montague: Engage charged particle beam. (In response there is a louder hum, with some tinkling noise in background accompaniment. Over the space of a few seconds, the tinkling fades away replaced by sparking sounds.)

Sound effect#16: (charged particle noise)

—————————————————————-

Rachael Montague: Engage particle accelerator in..3…2…1… execute!
—————————————————————-

(there is the flipping sound of a switch and a flash noise, like wind moving very fast. The sound then reversed, coming back and then the finale is a ripping noise, like the sound when water strikes a hard surface in large amounts. After this there is a sustained low noise like distant wind, showing that the wormhole is open)

Sound effect#12: (button clicks)
Sound effect#2: (wind)
Sound effect#16: (charged particle noise)
Sound effect#18: (open porthole noise)

—————————————————————-
Reporter: In the name of heaven *awed whisper*

—————————————————————-
Sound effect#19: (scraping shoe)
—————————————————————-
Rachael Montague: Ladies and gentlemen, I give you the world’s first stable wormhole… a fold in space and time, generated artificially and at the requirement of no more than an average household supply of power.
—————————————————————-
Sound effect#20: (applause)
Sound effect#8: (hushed whispers)
—————————————————————-
Rachael Montague: This new phenomenon I have dubbed the ‘Montague wormhole’ has so far demonstrated that no harmless radiation emanating from within and so…
—————————————————————-
Sound effect#21: (siren)
Sound effect#22: (unhealthy porthole sound)
—————————————————————-
Narrator: The vortex before them ebbed and flowed around itself, rippling like disturbances on the surface of water as something large was pushing its way forth from underneath.
—————————————————————-
Sciencist#1: Mam’e! I’m reading an unexplained increase in mass within the wormhole.
—————————————————————-
Rachael Montague: It.. It’s not possible…

—————————————————————-
Narrator: Emerging out of the rift, sliding forth as if rising from the sea came a massive hand clad in armour the gleamed bronze in the faint light.
—————————————————————-
Sound effect#23: (Oberon armour sound, slow)
Sound effect#24: (Oberon joints)
Sound effect#25: (Oberon-breathing)
Sound effect#22: (unhealthy porthole sound)
—————————————————————-

Prime Minister: Montague, what the hell is that thing?!

—————————————————————-
Rachael Montague: I… I (in stunned shock)
—————————————————————-
Vicky: Rachael! Get out of the way!!!!
—————————————————————-
Narrator: This was beyond science… beyond any academic experience. What had emerged before them was a figure that commanded all the reverence of folk lore.
—————————————————————-
Sound effect#26: (scream)
Sound effect#27: (chaos sounds, confused crowd)
Sound effect#23: (Oberon armour sound, slow)
Sound effect#25: (Oberon-breathing)
Sound effect#28: (crashing noise, demolition)

(At this point, the noise becomes suddenly muffled as if being heard from a distance.)
—————————————————————-
Sound effect#29: (drumming fingers)
Sound effect#30: (groan)
Sound effect#31: (phone pick up)
Sound effect#32: (dialling)
Sound effect#33: (connected)
(Someone drums their fingers and makes a disappointed noise in their throat before taking out a mobile phone and dialling someone. The noise of the connection is made)
—————————————————————-
Othello: It’s me. There was an incursion as we expected… but on a far grander scale *pause* No Padre, I don’t believe conventional means is going to cover this one.
—————————————————————-
Sound effect#28: (crashing noise, demolition- muffled)
—————————————————————-
Othello: Very good. Have him called in and I’ll be waiting for him and er…

Sound effect#28: (crashing noise, demolition- louder)

Othello:….. the sooner the better, if its not too much trouble.
—————————————————————-
Sound effect#34: (Oberon’s footsteps)
Sound effect#35: (car alarms)
Sound effect#36: (swerving car)
Sound effect#37: (car alarms, cut off)
Sound effect#38: (twisting, destroyed metal)
Sound effect#39: (Oberon chuckle)

(To finish this chapter, the noise of Oberon moving out into the snow outside are heard, cars jumping at his footsteps and their alarms going off. He crushes one underfoot, its alarm muffled and looks out over this new environment… his breathing harsh and turning into a raspy chuckle)

First pilot script:

ALright… written my first script for the pilot episode.

Part 1: Method in the Madness

—————————————————————-

(To begin the saga, there is to be mysterious sounds, distant whispers just heard over harsh winds. These whispers eventually fade away to be replaced by the gong of Big Ben and the sound of regular traffic. Panning down this is replaces by the snapping of many camera and the low murmur of conversation

—————————————————————-

Rachael Montague: Welcome, welcome. Financial backs, heads of state. You are here today to bare witness to a breakthrough that will rewrite accepted science and history both.

(She cuts into the noise, the conversation dying down as she speaks)

—————————————————————-

Rachael Montague: For years now, any attempt by science in the field of advanced quantum mechanics has been experimental and largely unexplored for other more profitable ventures. But today… you will witness for the first time in human history, a stable wormhole generated and sustained.
I would like of course to thank University off Westminster for its facilities and the government of the United Kingdom for the loan of the stone of destiny, a high valued relic of ancient Scotland as the background radiation has from which has proven essential.
—————————————————————-

Prime Minister: Just make sure you don’t chip it, Miss Montague

(more sound affections of laughter at the joke)

—————————————————————-

Rachael Montague: *chuckles, although forced for the affect of the press* No no Mr. Prime Minster, be reassured that the artifact itself will be preserved. My machine will only draw away the residual trans-dimensional energy that I discovered on it.

—————————————————————-

Press #1: Miss Montague, Sutton Gardener, News of the World… you say, residual energy. Do you mean that the stone is not the source of energy itself?

—————————————————————-

Rachael Montague: No… only that at some point it came into contact with a source of trans-dimensional energy so acute that its residue lasted for centuries. What that original source was is still up for debate but regardless, this opportunity for a leap forward in human understanding of wormholes.

It is said that to generate a hole in time and space, the energy of a million suns would be needed to sustain it for even a fraction of a second.

—————————————————————-

(there is now a hushed silence, all background noise accept for her machine die away)

—————————————————————-

Rachael Montague: I beg to differ

—————————————————————-

(There is the sound of footsteps approaching a machine, then fingers on buttons, the building hum of power. There are slight breaks with conversation, whispered words passing between spectators.)

—————————————————————-

Rachael Montague: Engage charged particle beam. (In response there is a louder hum, with some tinkling noise in background accompaniment. Over the space of a few seconds, the tinkling fades away replaced by sparking sounds and the conversation in the background begin to grow louder in awe)

—————————————————————-

Rachael Montague: Engage particle accelerator in..3…2…1… execute!
—————————————————————-

(there is the flipping sound of a switch and a flash noise, like wind moving very fast. The sound then reversed, coming back and then the finale is a ripping noise, like the sound when water strikes a hard surface in large amounts. After this there is a sustained low noise like distant wind, showing that the wormhole is open)

—————————————————————-
Reporter: In the name of heaven *awed whisper*

—————————————————————-
(scraping of shoe as Montague turns around)
—————————————————————-
Rachael Montague: Ladies and gentlemen, I give you the world’s first stable wormhole… a fold in space and time, generated artificially and at the requirement of no more than an average household supply of power.
—————————————————————-
(A round of applause from the reports, mixed with more awed whispers)
—————————————————————-
Rachael Montague: This new phenomenon I have dubbed the ‘Montague wormhole’ has so far demonstrated that no harmless radiation emanating from within and so…
—————————————————————-
(As she finishes this sentence, the sparking noise increases. Taking on a dangerously loud quality, almost drowning her out.)
—————————————————————-
Narrator: The vortex before them ebbed and flowed around itself, rippling like disturbances on the surface of water as something large was pushing its way forth from underneath.
—————————————————————-
Sciencist#1: Mam’e! I’m reading an unexplained increase in mass within the wormhole.
—————————————————————-
Rachael Montague: It.. It’s not possible…

—————————————————————-
Narrator: Emerging out of the rift, sliding forth as if rising from the sea came a massive hand clad in armour the gleamed bronze in the faint light.
—————————————————————-

(the noise of Oberon’s grating armour is heard for the first time, the noise like large sheets of metal scrapping together accompanied by turning joints.. his breathing growing louder and louder as he emerges through the wormhole.)
—————————————————————-

Prime Minister: Montague, what the hell is that thing?!

—————————————————————-
Rachael Montague: I… I (in stunned shock)

—————————————————————-
Narrator: This was beyond science… beyond any academic experience. What had emerged before them was a figure that commanded all the reverence of folk lore.
—————————————————————-
(The noise of Oberon moving, and his footsteps begins and is quickly followed by the sounds of panic and screaming, chaos erupting. The sound is to reflex the actions as Oberon raises his blade and then smashes it down, breaking a wall with a crash. At this point, the noise becomes suddenly muffled as if being heard from a distance.)
—————————————————————-
(Someone drums their fingers and makes a disappointed noise in their throat before taking out a mobile phone and dialling someone. The noise of the connection is made)
—————————————————————-
Othello: It’s me. There was an incursion as we expected… but on a far grander scale *pause* No Padre, I don’t believe conventional means is going to cover this one.
—————————————————————-
(there is a loud booming sound and Oberon’s movements become louder)
—————————————————————-
Othello: Very good. Have him called in and I’ll be waiting for him and er… (another louder crash).. the sooner the better if its not too much trouble.
—————————————————————-
(To finish this chapter, the noise of Oberon moving out into the snow outside are heard, cars jumping at his footsteps and their alarms going off. He crushes one underfoot, its alarm muffled and looks out over this new environment… his breathing harsh and turning into a raspy chuckle)
——————————————————————————————————-
——————————————————————————————————-
——————————————————————————————————-

Time Constraints

DUe to time constraints, for 216MC proffesional experience I will be submitting ONLY the pilot episode. however the project will continue beyound this and take up most of my summer activity.

Sound Affects Website

if you are a radio producer and you are in need of sound effects… GO HERE!! NOW!!!! D8<

http://www.freesound.org/

New Script version (radio drama version)

After my meeting with Source Radio and from Advice from Shelly I have re-written the script to have less narration:

Prototype scene: Oberon’s Rampage ‘Radio edit version’

(begin)

(overlapping sounds of many sirens, panning from right to left to give the affect of cars passing. Passing over is the sound of crunching footsteps, then a car door being opened and a man sitting down in the seat to take up the radio)

Generic police officer: All cars report in, disturbance reported down the Belgravi heading to Mayfair Corner off the area… fire fighters standing b. We are now at terror alert red, repeat alert red! (text may be amendable to any suggested police jargon)

—————————————————————-
Narrator: This was not the first time that explosions and screams had filled the streets of London. As soon as the first calls came in of massive destruction, terror alerts were sounded throughout the city and the police and fire department were out in force. But this was nothing they were prepared for.
—————————————————————-

(sounds of running, screaming and explosions overlap. There are shouted orders and the sound of men cooperating in a chaotic environment. Suddenly, there is the sound of grating metal against metal and the heavy approaching footsteps. Car alarms begin to bleep in affect as the source draws closer)

Generic officer #2: Dear god, what is that?

Generic officer: hey get down!

(Following is the sound of two bodies diving for cover as the noise of a car, its alarm blaring flies overhead and crashed into a building nearby with a loud crashing noise)
—————————————————————-

Narrator: The faint sunlight glinted of the highly polished bronze armour, with thick plates over the chest and down the arms. The helmet was elongated down the cheeks and the visor was dark with no visible face beyond. Jets of steam emerged from gaps in the armour, hissing white in the cold air. The long violet cape snapping out in the wind, embroidered on the edges in gold.

(Sound of footsteps continue, mixed with the grating metal sound that is the rasping breath of Oberon)
—————————————————————-

(noises of Oberon are then distant but get closer. The police can be heard gasping in awe and fear as the noise gets louder, some of them drawing in panicked breath)

Generic officer#3: That… that thing has to be at least twenty foot tall…

Generic Officer #2: And that sword … the damn thing is massive, it has to weigh tons!
—————————————————————–
Oberon: (speaks but with a guttural language unidentifiable to humans. The noise sounds rusty as if spoken, echoing from within a hollow space of metal)
—————————————————————–

Narrator: The giant spoke, its words unintelligible to even the most linguistically officer on the force.

—————————————————————–

(The noise of metal against metal as Oberon moves, lifting the sword with a whooshing sound. There are panicked cries and the noise of car doors opening and people diving out of the way. The sound of the sword is heard coming down, smashing into the car and leaving it in half with a ripping noise of metal, the alarm blaring once but then cutting out)

—————————————————————–

Generic officer#3: Shoot it! Shoot it!!

(Before he even finishes talking, the noise of gun shots overlaps and the clear sound of metal bouncing off metal is in the background)
—————————————————————–

Narrator: The giant looked down at them as they continued trying to shoot it and then made a sound that needed no translation.

—————————————————————–

Oberon: *laughs, with the same metal affect on the voice over the sound of ricocheting bullets*

—————————————————————–

Narrator: He was still laughing as he raised his sword again, arching his arm back across his chest and tensing.

(The accompanying noises of grinding metal is heard, along with the swoosh of the massive sword. Oberon is still laughing. After a moment with the same overlapping noise of bullets, a building up noise is heard, like something from science fiction charging itself. This noise grows until it drowns out the others. There is a loud clunking sound as Oberon takes a step forward and a whoosh as he swings his sword around, unleashing the devastating shockwave.)

(the noise cars from left to right, as it goes there is the noise of bursting glass and exploding cars, screams of fear and panic silenced quickly.)

(in the aftermath there is a silence, broken only by a few stray sparks of energy and the sound of falling snow on Oberon. In the distant there is the faint sound of something on fire)

(the noise of a grating metal is head as Oberon turns his head. Then is head is turned, the audience can also hear what has attracted his attention… the pain filled gasps off one of the police that are still alive)
—————————————————————–

Narrator: With its armour clinking, the giant bent down and lifted the severely injured policeman up by the leg. The man cried out in pain as the bullet he had fired at the thing had bounced off and hit him in that limb.
—————————————————————–

(cries of pain barely keep up with the grating metal noise as Oberon lifts him up to face level, his sound of his breath giving the audience the clue how high the policeman is being held)
—————————————————————–

Narrator: The giant held him up at face level and stared at him as one might examine a curiosity, its head held very still.
—————————————————————–

(the noise of a pulsing sound is heard,, in time to Oberon’s rasping breath and the painful and fearful sounds of the human fade as if distracted. Then the sound ends and Oberon snorts.)
—————————————————————–

Oberon: (now speaking in English) Your language is pathetically primitive but I have what I need from you now.
—————————————————————–
(Frightened gasp from the officer and the noise of metal as Oberon stands back up, the thud of footsteps)
—————————————————————–
Oberon: You have my permission to leave.
—————————————————————–
(There is a whooshing sound overlapping the churning of metal on metal as Oberon tosses the officer. There is a panicked scream followed by a loud thud and the scream goes silent. The scene ends with the faint sound of things on fire and the sounds of Oberon moving off, his footsteps growing fainter. There are overlapping sounds cutting in of screeching cars and more screams, Oberon’s laughter cutting above it all)
—————————————————————–
Narrator: Oberon, warlord and master of the Drow, was a being uncontested in the world from whence he had come and having crossed over found himself unrivalled here as well.
Or at least, that was how he first perceived it.
—————————————————————–

(The sound of chopper blade cuts above it suddenly, indicating a change of scene)
—————————————————————–
Othello *yelling over the noise of the blades* Well now mate, have a look at that down there. Reackon you’ve not seen THAT in an incursion before.
—————————————————————–
(faintly there is the noise of Oberon and destruction)
—————————————————————–
Macbeth: No.. no I have not. (his voice is concerned but with a curious overtone)
—————————————————————–
Othello: We’ve got AK47’s, SAMs… grenades and standard equipment on site. But we’ve received orders that if at all possible, this one is to be taken alive and before the Brits turn out their military.
—————————————————————–
Macbeth: *chuckle* Of course. Nice to see that the cardinals don’t set us too impossible a task.
—————————————————————–
Othello: That’s why they call us in Macbeth, to deal with the impossible tasks. It’s why we exist. And we had best fulfil that function and put a stop to this rampage right now.
—————————————————————–
(There is the sound of straps being undone and zips done up. The sound of guns being tested and handed around is also heard)
—————————————————————–
Macbeth: Othello, sometimes you are too overenthusiastic
—————————————————————–
Othello: And you my friend need to take some pride in your work; and you can start right now. (gun loaded) lets do it!

(the chapter ends as the chopper blade fade off into the distance

——————————————————————————————————-
——————————————————————————————————-
——————————————————————————————————-

First Prototype Script, Oberon’s Rampage (audiobook style)

Macbeth (prototype scene)

(As outlined in this example, the narrator ‘who may voice a main character so the audience had identifiable with that character’ speaks for the main text yet the lines are spoken by individual actors)

First draft: Oberon’s Rampage

———————————————————–
Narrator:

This was not the first time that explosions and screams had filled the streets of London. As soon as the first calls came in of massive destruction, terror alerts were sounded throughout the city and the police and fire department were out in force. Sirens cut above the noise of confused chaos and efforts were made quickly to corner off the Kensington area near Hyde Park.

Those efforts failed when, as the police formed their barricade, one of their patrol cars suddenly soared over their heads. It tumbled end over end, trailing smoke and pieces of charred metal before it impacted the window of a delicatessen and burst into flames. Whatever civilians that had remained to gawk backed off and then started to run as the ground shook, not with the explosions this time but with the approaching footsteps of the giant that marched out of the smoke.

The police simply stared in disbelief that the figure, an impossible twenty foot high striding towards them. The faint sunlight glinted of the highly polished bronze armour, with thick plates over the chest and down the arms. The helmet was elongated down the cheeks and the visor was dark with no visible face beyond. Jets of steam emerged from gaps in the armour, hissing white in the cold air. The long violet cape snapping out in the wind, embroidered on the edges in gold.

The police stood there, frozen in a mixture of awe and terror for the giant carried in its left hand with apparently no trouble at all, a large sword that had to be at least seven foot in length.
—————————————————————–
Oberon: (speaks but with a guttural language unidentifiable to humans)
—————————————————————–
Narrator: The giant spoke, its words unintelligible to even the most linguistically officer on the force.
Its arm whipped back, holding the massive blade up high. The weapon had to have weighed as much as a car but was whirled around with any evidence of strain.
Two officers flung the door of their car open and frantically dived out of the way as the blade smashed down into the vehicle, cleaving it in two.
—————————————————————–
Officer: Shoot it! Shoot it!
—————————————————————–

Narrator: Dozens of bullets were fired in the space of a few minutes, all of them simply bounced off the armour. More often than not they ricocheted back to smash windows and hit one or two policemen in either the arm or leg.
The giant looked down at them as they continued trying to shoot it and then made a sound that needed no translation.
He was laughing at them.
He was still laughing as he raised his sword again, arching his arm back and tensing. Then he let the sword swing wide across his front. As it swept across, the blade burst into life with an unearthly green light. This arching light lashed out as the sword swept down, flying forward like a shockwave. As it flew forward, cars bonnets burst upwards as their engines exploded and their windows shattered. The buildings around them cracked, whatever was flammable instantly catching fire.
Police officers were sent flying, tumbling through the air as if made of paper. Some were thrown through shop windows and others to tumble against the road, their uniforms smouldering on their charred bodies.
The giant stepped over their bodies and continues waking but then stopped and looked down at the figure trying to drag itself through the snow towards the relative safety of an open doorway. With its armour clinking, the giant bent down and lifted the severely injured policeman up by the leg. The man cried out in pain as the bullet he had fired at the thing had bounced off and hit him in that limb.
The giant held him up at face level and stared at him as one might examine a curiosity, its head held very still. The man tried to struggle but then stopped suddenly, freezing as a beam of light softly illuminated his face from some point top the giants helmet. This beam of light held itself there for a moment.
—————————————————————–
Oberon: (now speaking in English) Your language is primitive but I have what I need from you now.
—————————————————————–
Narrator: The giant spoke, now in completely fluent English as the light beam faded.
—————————————————————–
Oberon: You have my permission to leave.
—————————————————————–
Narrator: The causal toss of someone discarding a piece of rubbish the towering figure tossed the man over his shoulder and continued on walking was the man crashed on top of a car and was left draped over it, broken.

First synopsis

Here were are the first radio synopsis for the drama series. Its divided into six parts and each part will be about 5 – 10 minutes long

Part 1: Method in the Madness

(Rachael Montague, scientist working on a remarkable new scientific theory and with permission from the UK government, uses the stone of destiny (the stone on which the ancient kings of Scotland were coroneted). A residual energy on it is used to open a wormhole but something on the far end comes through. This is Oberon, a warlord from the parallel world of Fae. He bursts out of the lab and into our world, reeking havoc. Canmore, the organisation that funded Montague’s experiments, calls in the clean up crew to deal with the dimensional incursion)

Part 2: Something Wicked This Way Comes

(Oberon’s rampage continues throughout the streets of London, causing chaos and destruction and the effort are made to stop him. Police try to get in his way, along with some militia forces but Oberon displays power unlike any other. As his path of devastation continues, Macbeth and Othello are flown overheard in a chopper)

Part 3: Is this a dagger which I see before me?

(The Canmore organisation agents Macbeth and Othello, lure Oberon into power station in London. Othello is injured badly in the process of rendering Oberon unconscious, the inert body to be hauled away by the British military. Montague oversees the wrecked lab, wondering what had happened.)

Part 4: Goblin, lead them up and down…

(The aftermath of the incursion Rachael Montague finds herself publically ridiculed, a smear campaign directed at her for unleashing the monster and her financial backers shut her own. The stone of destiny is taken back in British custody to the houses of parliament. She vows to learn the truth and is pushed to investigate Canmore. Her friend, Vicky Bianca, tells her to drop it and try something else. She flies to Rome and her family home to escape it, pondering over what went wrong. She is watched Macbeth who is following her on instructions from Canmore.
While in Rome, she is met by her friend, Nick a reporter who wants the story behind the incident in London. While he is there with her, they are tipped off over church involvement in Canmore. Nick and Montague head off to the Vatican to try and investigate. None of them are aware they are being both manipulated by the trickster, Puck.)

Part 5: Strange bedfellows

(Nick and Montague manage to sneak into the Vatican, added by a mysterious priest who claims to be their informant, an insider on the Canmore group. He reveals to them the nature of Canmore and its mission to deal with the physical and theological threat posed by the world of Fae. When they return to the apartment, Macbeth and Vicky Bianca are waiting for them. Vicky is revealed as a Canmore operative. Vicky and Montague have an argument while Macbeth surprises all of them by saying he intends to help open the rift to Fae again, so that he might solve the mystery of his heritage… the Original Macbeth

Part 6: There are more things in heaven and earth, Horatio…

(Over a dispute between the Americans and the British over who takes custody of the ‘alien’, Oberon escapes from the British military, devastating the air craft carrier the Americans had. Meanwhile, Macbeth steals the stone of destiny and while trying to recreate her experiment, Montague realises that the stone is not the source of the energy that could open the gateway, but rather was whatever fitted into a slot in the stone. But there is enough energy to open the gateway but before they could do anything else… Oberon arrives accompanied by the informant priest, who reveals himself to be Puck the trickster, servant of Oberon. The pair of them escape back into their own world, kidnapping Vicky Bianca as a hostage. Macbeth follows instantly followed by Rachael. Nick hesitates but the police turn up to try and arrest him for involvement and he follows to save his own skin.

As the gate closes, unable to open itself anymore, three mysterious figures watch from afar.