Beyond Morp production pack: cast v2 fresh-eyes edit + full 46-shot 3-act list from MorpQuest canon
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
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# BEYOND MORP: THE GAME OF THE BOOK OF THE MOVIE OF THE GAME
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## Complete production pack — cast v2 (fresh-eyes edit) + story arc + full shot list
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### One night, all clips. 2026-07-22.
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The premise, one line: the wildly unfaithful $200M Hollywood adaptation of a text
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adventure about a cat-food run — played as a Dragon's Lair QTE game, heckled in
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real time by Barry, the one man who read the original.
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Source canon (real, from morpquest/DESIGN.md on ultra — Barry quotes THIS):
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paperclip frees the seatbelt · Becky poster-frenzy shreds a Taylor poster, the
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fragments spell YARD DOOR SECRET · the vinyl vine "isn't a ladder. But it's
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climbable." · the roof has a door-shaped absence; Dave: "Yeah nah. That was NOT
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there." and shoulders it anyway · 45-adapter fixes the listening station · elastic
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band + sad balloon = eyepatch · clean sleeve tidies the shop, "Clerk notices.
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Pretends not to. But it counts." · beaded curtain → back room → the white label
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and delay notice were "always there" · lollipop disperses the Beckies · the mouldy
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kebab kills you (two warnings) · improvising the five words at the hive = the
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Becky-grue · THE FIVE WORDS, strict order: RSD, FIRST, GLOBAL, AMBASSADOR,
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VERSION → curse-broken, the hive blinks awake: "…why are we here?"
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---
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## 0. TONIGHT'S SETUP CHECKLIST (every RSG lesson, pre-applied)
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1. NEW Flow project: "BEYOND MORP THE MOVIE". Do not touch the RSG project.
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2. Settings: Confirm-before-generating ALWAYS · video default Veo 3.1 – Fast,
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16:9, 1x · images Nano Banana, x2.
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3. Agent side panel CLOSED at all times. Auto-Pilot idle (it is pinned to the RSG
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project — do not point it here tonight; paste manually, it's faster than fixing it).
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4. Build cast first (section 1), in order. Download EVERY approved Portrait/Body
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immediately → laptop folder → later vault to repo bible/flow_cards_bm/.
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5. Multi-character shots (marked ⑂): Veo caps at 3 reference images — use Omni
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Flash for those, or drop to the 2 most important cards.
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6. Deaths end HELD on a tableau. Actions end on a clean survivable beat.
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7. Run 2 takes per shot (re-paste), download both, judge later. ⭐QUALITY shots:
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Veo 3.1 – Quality, 2 takes, no more.
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8. If Flow throws "Something went wrong" twice in a row: STOP for 30+ minutes.
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That's the abuse throttle. Steady single-file pace never triggered it.
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9. Budget: ~46 shots × 2 takes ≈ 860cr Fast + 5 Quality shots ≈ +1000cr. Well
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inside what's left; surplus = extra takes on Act 3.
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STYLE LINE — ends every prompt below, never abbreviate, never trim:
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"1980s hand-drawn cel animation, thick ink outlines, painterly gouache
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backgrounds, film grain. No text, no captions, no watermark; all signs, posters
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and record sleeves are blank or abstract designs with no lettering."
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---
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## 1. CAST v2 — fresh-eyes edits
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Changes from v1 draft: added per-character watch-lists (the RSG drift lessons),
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a no-weapons rule on The Guy, Barry re-staged for PiP compositing, Morp gets an
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isolated card + an establishing variant, Gerald and Becky tightened, and one new
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cameo that costs zero credits.
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### THE GUY (movie-version protagonist)
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PORTRAIT — paste:
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1980s hand-drawn cel animation style, theatrical animated feature quality, thick
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confident ink outlines, painterly gouache rendering, dramatic colored rim
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lighting, saturated jewel-tone palette, subtle film grain. Not photorealistic,
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not 3D, not CGI. A single character portrait, one person only, no text anywhere,
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no weapons. A ludicrously handsome Hollywood action-hero version of an ordinary
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errand-runner: chiseled jaw with precise stubble, windswept brown hair, tight
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gray henley with one torn sleeve, tactical cargo pants, a bandolier of identical
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plain silver cat-food cans across his chest, and a crumpled handwritten note held
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reverently in one fist like a sacred scroll. Determined thousand-yard stare.
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Waist-up, plain softly blurred dark background.
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BODY — paste after portrait approved:
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Full body, same man, heroic wide stance, bandolier of plain silver cans, the
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crumpled note in one fist, scuffed hiking boots. Same style, plain background,
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no text, no weapons.
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INFO box:
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Treats a cat-food run like a special-forces operation. Slow-motion walks, intense
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close-ups, meaningful stares at the shopping list. Everything he does is
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unnecessarily dramatic. He was two words of text in the original.
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WATCH-LIST: no guns/knives EVER (Hollywood-hero drift); cans stay plain silver,
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no labels; the note stays crumpled paper, no readable writing; jaw stubble
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precise, never a full beard.
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### BARRY (the aggrieved superfan — PiP heckler)
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Staging note (new): Barry's clips composite as a picture-in-picture box over
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frozen action, so his card AND all his scene clips are shot solo against a flat
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dark background — never inside a set. This makes the PiP clean and makes Barry
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immune to set drift. He is the cheapest, most reliable character we have.
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PORTRAIT — paste:
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1980s hand-drawn cel animation style, thick confident ink outlines, painterly
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gouache rendering, dramatic colored rim lighting, subtle film grain. Not
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photorealistic, not 3D, not CGI. A single character portrait, one person only,
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no readable text anywhere. A pale doughy man in his 40s with a patchy neckbeard,
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smudged rectangular glasses, a too-small faded t-shirt with an abstract
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unreadable design, a lanyard heavy with blank laminated badges, clutching a
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vintage beige computer-game box with no readable text to his chest with one hand
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and pointing an accusing finger directly at the viewer with the other,
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mid-outraged-rant expression. Waist-up, flat dark charcoal background, evenly lit.
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BODY: skip — Barry is always waist-up in a PiP box. Never full body.
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INFO box:
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Pauses the movie to complain about inaccuracies. Points at the screen. Quotes
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the original text adventure from memory, with references. His rage is scholarly,
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encyclopedic and completely correct. The action freezes when he speaks.
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WATCH-LIST: badges stay BLANK; game box stays blank; background stays flat
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charcoal (no rooms, no shelves); glasses smudged not opaque.
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### MORP (the movie's overproduced entity)
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Two cards (new): an isolated FACE card for scene-referencing, plus the wide
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establishing shot kept as concept art only.
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FACE CARD — paste:
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1980s hand-drawn cel animation style, thick ink outlines, painterly gouache
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rendering, subtle film grain. Not photorealistic, not 3D, not CGI. A colossal
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serene god-face made of swirling purple and gold energy, crowned with an
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excessive halo of lens flares and orbiting abstract golden rune shapes, its
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expression infinitely calm and infinitely disappointed. The face fills the frame
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against a deep twilight sky. No text, no people, no buildings.
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INFO box:
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The original Morp was never described; the movie made it a two-hundred-million-
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dollar special effect. Speaks in movie-trailer platitudes. Is not cruel; is
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accurate. Its disappointment changes the weather.
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WATCH-LIST: serene, never angry or monstrous; purple-gold only (drifts to fire);
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runes stay abstract shapes, never letters.
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### BECKY (chief of the BeckyWall)
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PORTRAIT — paste:
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1980s hand-drawn cel animation style, thick ink outlines, painterly gouache
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rendering, dramatic colored rim lighting, subtle film grain. Not photorealistic,
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not 3D, not CGI. A single character portrait, one person only, no readable text.
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A fiercely organized superfan commander in her 20s: high ponytail, glitter face
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paint under one eye like war paint, a denim jacket armored with hundreds of
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friendship bracelets and blank enamel pins, cargo skirt with water bottles and
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glow sticks holstered like ammunition, holding a plain megaphone, standing like
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a general. Waist-up, plain softly blurred dark background.
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BODY — paste:
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Full body, same woman, commander's stance on slightly spread feet, megaphone
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raised halfway, white sneakers. Same style, plain background, no text.
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INFO box:
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Commands the wall of fans blocking the shop door with military hand signals. Her
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queue discipline is absolute. Respects only those who know the setlist. The
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BeckyWall parts for no one. Deep down, she is waiting for five specific words.
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WATCH-LIST: pins/bracelets stay blank; megaphone plain, no logos; she is
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commanding, never villainous — the movie wrongly frames her as a boss, Barry
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objects, both are true.
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### GERALD (the cat the food is for)
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CARD — paste:
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1980s hand-drawn cel animation style, thick ink outlines, painterly gouache
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rendering, subtle film grain. Not photorealistic, not 3D, not CGI. A scrawny
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alley cat with one notched ear, patchy gray-brown fur, and the narrowed
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unblinking eyes of a creature that can smell weakness, sitting upright on a
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suburban brick fence in dramatic golden evening light like a mob boss awaiting
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tribute. No text, no people.
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BODY: skip — full body already in frame (Mildred rule).
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INFO box:
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The entire plot exists because he is hungry. Can smell weakness. Withholds
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affection strategically. The movie gave him a heroic subplot; Barry has opinions.
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WATCH-LIST: scrawny, never cute/plump (drifts adorable); notched LEFT ear; he
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never runs — cats of his stature are carried or waited upon.
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### THE CLERK — cameo, zero credits (new)
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The record shop clerk in this movie is played by DEZ. Import the Dez portrait +
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body cards from bible/flow_cards/ (dez_portrait.jpeg, dez_body.jpeg) into this
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project as a character named "The Clerk". Same universe, same actor, different
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gig. In MorpQuest canon the Clerk "notices. Pretends not to. But it counts." —
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that is a Dez line reading if ever there was one. Barry, for once, approves of
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this casting.
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### Deliberately absent: UNCLE
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Uncle remains a handwritten list and a voice on the phone. The movie cast nobody.
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This is the one thing the adaptation got right, and Barry finds it suspicious.
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---
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## 2. STORY ARC — three acts across the real 14-room map
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Structure mirrors RSG's engine: action clip + death clip per scene, choice
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windows where the source had choices, Barry PiP interrupts as bonus scenes
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between acts, five-words prophecy as the collectible layer (engine's white-label
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system, re-skinned: collect a WORD per act location — RSD, FIRST, GLOBAL,
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AMBASSADOR, VERSION — all five = true ending).
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ACT 1 — THE ERRAND (car → car park → entrance)
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The seatbelt won't release: the movie turns a paperclip puzzle into an escape-
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room setpiece. The car park is shot like a war zone. The BeckyWall guards the
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door. Act boss: Becky demands the setlist.
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ACT 2 — THE RIM TRILOGY (alley → toilet → yard → roof → kitchen → shop floor)
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Scenic Rim, Pacific Rim, Above the Rim — the movie shoots three alleys/rooftops
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as three different continents. The vinyl vine, the door-shaped absence, Dave's
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shoulder. Inside: the shop floor is SUSPICIOUSLY the Record Store Guy set —
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budget reuse, Barry notices. The Clerk (Dez) pretends not to notice anything.
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ACT 3 — THE WHITE LABEL (dance racks → listening → counter → back room → finale)
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The 45-adapter ritual, the eyepatch balloon, the beaded curtain treated like a
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tomb seal, the white label in a glowing briefcase ("it was always there" —
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delivered as a prophecy), the card terminal as a bomb-defusal scene, then the
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Becky hive confrontation: say the five words IN ORDER or face the Becky-grue.
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Win: the lollipop, the dispersal, the ignition. Gerald receives his tribute.
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Stinger: Morp's face in the rear-view mirror: "…drive safely." Sequel card.
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---
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## 3. FULL SHOT LIST — paste-ready, fully expanded
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Attach the listed character cards per shot. ⑂ = multi-character → Omni Flash or
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trim cards to 2. ⭐ = Veo Quality. Every prompt ends with the full style line.
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Deaths end held; the engine needs that freeze.
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### ACT 1 — THE ERRAND
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a1s1_action [The Guy]
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Interior of a beige hatchback car at golden hour, suburban street outside the
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windows. The Guy wrestles heroically with a jammed seatbelt shot like a
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submarine escape scene, then produces a single paperclip, holds it up to the
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light like a legendary blade, and picks the buckle free in dramatic slow motion.
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Tight interior shot, sweat and lens flare. 1980s hand-drawn cel animation, thick
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ink outlines, painterly gouache backgrounds, film grain. No text, no captions,
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no watermark; all signs, posters and record sleeves are blank or abstract
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designs with no lettering.
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a1s1_death [The Guy]
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Interior of a beige hatchback car. The jammed seatbelt suddenly retracts and
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cocoons The Guy in strap webbing until only his face pokes out, mummified in
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seatbelt, eyes blinking twice. The clip ends held on this frame. Static interior
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shot. 1980s hand-drawn cel animation, thick ink outlines, painterly gouache
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backgrounds, film grain. No text, no captions, no watermark; all signs, posters
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and record sleeves are blank or abstract designs with no lettering.
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a1s2_action [The Guy]
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A quiet suburban car park at golden hour shot like a war zone: shopping trolleys
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drift past like tumbleweeds, a pigeon scatters in slow motion. The Guy sprints
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low between parked cars, vaults a trolley, and rolls to cover behind a concrete
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pillar, cat-food cans glinting on his bandolier. Sweeping tracking shot. 1980s
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hand-drawn cel animation, thick ink outlines, painterly gouache backgrounds,
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film grain. No text, no captions, no watermark; all signs, posters and record
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sleeves are blank or abstract designs with no lettering.
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a1s2_death [The Guy]
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A quiet suburban car park. A runaway shopping trolley clips The Guy mid-heroic-
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roll and he tumbles into a nest of forty tangled trolleys that fold around him
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like a bear trap, leaving one arm out giving a weak thumbs-up. The clip ends
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held on this frame. Static wide shot. 1980s hand-drawn cel animation, thick ink
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outlines, painterly gouache backgrounds, film grain. No text, no captions, no
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watermark; all signs, posters and record sleeves are blank or abstract designs
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with no lettering.
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a1s3_action ⑂ [The Guy + Becky]
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A record shop entrance blocked by a wall of chanting identical superfans in
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friendship-bracelet jackets, arms linked. Becky stands atop a milk crate with
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her megaphone directing them with military hand signals as The Guy attempts a
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slow-motion running crowd-surf over the wall and is calmly passed backward by a
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hundred hands and deposited on the pavement. Epic wide shot. 1980s hand-drawn
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cel animation, thick ink outlines, painterly gouache backgrounds, film grain. No
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text, no captions, no watermark; all signs, posters and record sleeves are blank
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or abstract designs with no lettering.
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a1s3_death [The Guy]
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A wall of superfans at a shop doorway. The crowd absorbs The Guy entirely like a
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sea anemone taking in a fish — one boot is left sticking out of the wall of
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denim jackets, kicking once, then still. The clip ends held on this frame.
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Static medium shot. 1980s hand-drawn cel animation, thick ink outlines,
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painterly gouache backgrounds, film grain. No text, no captions, no watermark;
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all signs, posters and record sleeves are blank or abstract designs with no
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lettering.
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a1s4_action [The Guy] (poster-frenzy — WORD 1 collectible scene: RSD)
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Outside the shop entrance, dusk. A blizzard of shredded paper poster fragments
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whirls around The Guy like a snow globe; he snatches fragments from the air one
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by one and holds them up, eyes widening as unseen meaning assembles, dramatic
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orchestral lighting. Slow push-in. 1980s hand-drawn cel animation, thick ink
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outlines, painterly gouache backgrounds, film grain. No text, no captions, no
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watermark; all signs, posters and record sleeves are blank or abstract designs
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with no lettering.
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### BARRY PiP PACK (4 clips, reusable everywhere, cheapest scenes in the game)
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All four: flat dark charcoal background, waist-up, Barry only.
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barry_rant_1 [Barry]
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Flat dark charcoal background, even lighting. Barry clutches his vintage blank
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game box and erupts into an outraged scholarly rant directly at camera, jabbing
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his finger at the viewer, flecks of spit, escalating disbelief, then folds his
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arms in disgusted finality. Static medium shot, waist-up. 1980s hand-drawn cel
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animation, thick ink outlines, painterly gouache backgrounds, film grain. No
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text, no captions, no watermark; all signs, posters and record sleeves are blank
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or abstract designs with no lettering.
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barry_rant_2 [Barry]
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Flat dark charcoal background. Barry pinches the bridge of his nose under his
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glasses, takes a long-suffering breath, holds up one finger, begins a patient
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professorial correction that accelerates into wild gesticulation, ending with
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both hands raised to the heavens. Static medium shot, waist-up. 1980s hand-drawn
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cel animation, thick ink outlines, painterly gouache backgrounds, film grain. No
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text, no captions, no watermark; all signs, posters and record sleeves are blank
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or abstract designs with no lettering.
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barry_approves [Barry]
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Flat dark charcoal background. Barry starts to point accusingly, hesitates,
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slowly lowers the finger, nods grudging respect directly at camera, and wipes
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away a single proud tear behind his glasses. The clip ends held on the nod.
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Static medium shot, waist-up. 1980s hand-drawn cel animation, thick ink
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outlines, painterly gouache backgrounds, film grain. No text, no captions, no
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watermark; all signs, posters and record sleeves are blank or abstract designs
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with no lettering.
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||||||
|
barry_gameover [Barry] (plays on GAME OVER)
|
||||||
|
Flat dark charcoal background. Barry closes his eyes, hugs his blank game box to
|
||||||
|
his chest like a wounded comrade, shakes his head in slow devastated
|
||||||
|
disappointment, and mouths a silent "why". The clip ends held on the head shake.
|
||||||
|
Static medium shot, waist-up. 1980s hand-drawn cel animation, thick ink
|
||||||
|
outlines, painterly gouache backgrounds, film grain. No text, no captions, no
|
||||||
|
watermark; all signs, posters and record sleeves are blank or abstract designs
|
||||||
|
with no lettering.
|
||||||
|
|
||||||
|
### ACT 2 — THE RIM TRILOGY
|
||||||
|
|
||||||
|
a2s1_action [The Guy] (Scenic Rim)
|
||||||
|
A narrow brick alley beside a record shop, shot absurdly like a sweeping epic
|
||||||
|
canyon vista with god rays and drifting mist. The Guy edges along a completely
|
||||||
|
ordinary flat wall as though it were a cliff ledge, pressing his back to the
|
||||||
|
brick, one wheelie bin below filmed like a thousand-foot drop. Sweeping crane
|
||||||
|
shot. 1980s hand-drawn cel animation, thick ink outlines, painterly gouache
|
||||||
|
backgrounds, film grain. No text, no captions, no watermark; all signs, posters
|
||||||
|
and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a2s1_death [The Guy]
|
||||||
|
A narrow brick alley. The Guy loses his grip on the flat ordinary wall and
|
||||||
|
plummets a full one metre into an open wheelie bin, legs sticking straight up
|
||||||
|
kicking once among banana peels, filmed with avalanche gravity. The clip ends
|
||||||
|
held on this frame. High angle. 1980s hand-drawn cel animation, thick ink
|
||||||
|
outlines, painterly gouache backgrounds, film grain. No text, no captions, no
|
||||||
|
watermark; all signs, posters and record sleeves are blank or abstract designs
|
||||||
|
with no lettering.
|
||||||
|
|
||||||
|
a2s2_action [The Guy] (Pacific Rim — the toilet. WORD 2: FIRST)
|
||||||
|
A tiny grimy shop toilet lit like a submarine bridge, red emergency glow, pipes
|
||||||
|
hissing steam. The Guy braces against the walls as the room shudders like a
|
||||||
|
depth-charged vessel, reaches into the cupboard and extracts a single elastic
|
||||||
|
band, holding it up in triumph as water drips. Claustrophobic shot. 1980s
|
||||||
|
hand-drawn cel animation, thick ink outlines, painterly gouache backgrounds,
|
||||||
|
film grain. No text, no captions, no watermark; all signs, posters and record
|
||||||
|
sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a2s2_death [The Guy] (the mouldy kebab — canon death, Barry-certified)
|
||||||
|
A tiny grimy shop toilet. The Guy notices an ancient mouldy kebab on the
|
||||||
|
windowsill, glances left and right, and takes a bite despite everything; he
|
||||||
|
freezes, turns gray-green, and topples backward stiff as a board out of frame
|
||||||
|
with one hand still holding the kebab aloft. The clip ends held on the risen
|
||||||
|
kebab hand. Static shot. 1980s hand-drawn cel animation, thick ink outlines,
|
||||||
|
painterly gouache backgrounds, film grain. No text, no captions, no watermark;
|
||||||
|
all signs, posters and record sleeves are blank or abstract designs with no
|
||||||
|
lettering.
|
||||||
|
|
||||||
|
a2s3_action [The Guy] (the vinyl vine)
|
||||||
|
A cluttered shop backyard at dusk. A thick vine of tangled vinyl records and
|
||||||
|
cables snakes up the back wall to the roof; The Guy tests it with one hand,
|
||||||
|
delivers a solemn nod to nobody, and begins climbing it like a commando scaling
|
||||||
|
a fortress, records rotating under his grip. Low heroic angle. 1980s hand-drawn
|
||||||
|
cel animation, thick ink outlines, painterly gouache backgrounds, film grain. No
|
||||||
|
text, no captions, no watermark; all signs, posters and record sleeves are blank
|
||||||
|
or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a2s3_death [The Guy] (canon-error death — the vine was load-bearing dialogue)
|
||||||
|
A cluttered shop backyard at dusk. Mid-climb the vinyl vine unravels record by
|
||||||
|
record like a zipper opening from the bottom, and The Guy descends with it in
|
||||||
|
slow dignified defeat into a pile of soft rubbish bags, buried to the chest,
|
||||||
|
one record spinning down to land on his head. The clip ends held on this frame.
|
||||||
|
Static wide shot. 1980s hand-drawn cel animation, thick ink outlines, painterly
|
||||||
|
gouache backgrounds, film grain. No text, no captions, no watermark; all signs,
|
||||||
|
posters and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a2s4_action [The Guy] (Above the Rim — the door-shaped absence)
|
||||||
|
A flat shop rooftop at dusk shot like a mountain summit, wind, drifting cloud
|
||||||
|
haze. The Guy plants one boot on the parapet, surveys the suburban horizon like
|
||||||
|
a conquering explorer, then turns to find a faint door-shaped outline glowing
|
||||||
|
subtly on the brick wall and traces it with one finger in awe. Epic then
|
||||||
|
intimate. 1980s hand-drawn cel animation, thick ink outlines, painterly gouache
|
||||||
|
backgrounds, film grain. No text, no captions, no watermark; all signs, posters
|
||||||
|
and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a2s4_death [The Guy]
|
||||||
|
A flat shop rooftop at dusk. A gust of completely ordinary wind catches The
|
||||||
|
Guy's heroic pose and he windmills his arms in slow motion before toppling
|
||||||
|
backward off the one-storey roof into an unseen hedge below with a soft crunch;
|
||||||
|
a few leaves drift up past the parapet. The clip ends held on the drifting
|
||||||
|
leaves. Static shot at roof edge. 1980s hand-drawn cel animation, thick ink
|
||||||
|
outlines, painterly gouache backgrounds, film grain. No text, no captions, no
|
||||||
|
watermark; all signs, posters and record sleeves are blank or abstract designs
|
||||||
|
with no lettering.
|
||||||
|
|
||||||
|
a2s5_action ⑂ [The Guy + The Clerk(Dez)] (Dave's door, recast — WORD 3: GLOBAL)
|
||||||
|
A shop kitchen side door, harsh fluorescent light. The Clerk — a lanky young man
|
||||||
|
with a tall black quiff, red flannel and headphones around his neck — squints at
|
||||||
|
the door, delivers an entire monologue of skepticism with only his eyebrows,
|
||||||
|
then shoulders the door open with casual violence and gestures The Guy through
|
||||||
|
with two fingers, unimpressed. Static two-shot. 1980s hand-drawn cel animation,
|
||||||
|
thick ink outlines, painterly gouache backgrounds, film grain. No text, no
|
||||||
|
captions, no watermark; all signs, posters and record sleeves are blank or
|
||||||
|
abstract designs with no lettering.
|
||||||
|
|
||||||
|
a2s5_death [The Guy]
|
||||||
|
A shop kitchen, harsh fluorescent light. The Guy attempts to shoulder the side
|
||||||
|
door heroically before it is unlocked and rebounds off it in full slow motion,
|
||||||
|
spinning twice with theatrical grace before landing flat on his back on the
|
||||||
|
tiles, limbs in a chalk-outline pose. The clip ends held on this frame. High
|
||||||
|
angle. 1980s hand-drawn cel animation, thick ink outlines, painterly gouache
|
||||||
|
backgrounds, film grain. No text, no captions, no watermark; all signs, posters
|
||||||
|
and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a2s6_action ⑂ [The Guy + The Clerk(Dez)] (the shop floor — the SET REUSE gag)
|
||||||
|
Inside a cluttered record store with neon glow and a checkerboard floor —
|
||||||
|
unmistakably the same set as a certain other movie, one shelf still toppled. The
|
||||||
|
Guy strides in filming it like a discovered temple while The Clerk restocks a
|
||||||
|
crate, notices the audience, pretends not to, and keeps working. Slow reverent
|
||||||
|
dolly. 1980s hand-drawn cel animation, thick ink outlines, painterly gouache
|
||||||
|
backgrounds, film grain. No text, no captions, no watermark; all signs, posters
|
||||||
|
and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a2s6_death [The Guy]
|
||||||
|
Inside the cluttered record store. The Guy dramatically fails to notice the one
|
||||||
|
toppled shelf, trips over it at full heroic stride, and surfs face-first down an
|
||||||
|
aisle on a cascade of records before coming to rest buried to the waist,
|
||||||
|
upside-down, legs scissoring. The clip ends held on this frame. Tracking then
|
||||||
|
static. 1980s hand-drawn cel animation, thick ink outlines, painterly gouache
|
||||||
|
backgrounds, film grain. No text, no captions, no watermark; all signs, posters
|
||||||
|
and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
### ACT 3 — THE WHITE LABEL
|
||||||
|
|
||||||
|
a3s1_action [The Guy] (45-adapter ritual — WORD 4: AMBASSADOR)
|
||||||
|
A vintage wood-paneled listening booth, warm amber light, a glowing turntable
|
||||||
|
console. The Guy holds a small plastic 45 adapter aloft with both hands like a
|
||||||
|
holy relic as golden light rays burst from it, then lowers it onto the spindle
|
||||||
|
in extreme slow motion, dust motes orbiting. Reverent close-up. 1980s hand-drawn
|
||||||
|
cel animation, thick ink outlines, painterly gouache backgrounds, film grain. No
|
||||||
|
text, no captions, no watermark; all signs, posters and record sleeves are blank
|
||||||
|
or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a3s1_death [The Guy]
|
||||||
|
A vintage listening booth, warm amber light. The turntable rejects the adapter,
|
||||||
|
which pings off the walls in ricocheting slow motion while The Guy dives after
|
||||||
|
it with outstretched fingers, misses, and lands draped over the console as the
|
||||||
|
adapter rolls to a mocking stop just out of reach. The clip ends held on his
|
||||||
|
outstretched hand. Static shot. 1980s hand-drawn cel animation, thick ink
|
||||||
|
outlines, painterly gouache backgrounds, film grain. No text, no captions, no
|
||||||
|
watermark; all signs, posters and record sleeves are blank or abstract designs
|
||||||
|
with no lettering.
|
||||||
|
|
||||||
|
a3s2_action [The Guy] (the eyepatch balloon)
|
||||||
|
The record store dance aisle, neon glow. A sad deflated balloon droops from a
|
||||||
|
shelf; The Guy stretches an elastic band around it with surgical concentration,
|
||||||
|
fashions a perfect eyepatch, and puts it ON HIMSELF, striking a battle-ready
|
||||||
|
pose as wind machines blow his hair. Heroic low angle. 1980s hand-drawn cel
|
||||||
|
animation, thick ink outlines, painterly gouache backgrounds, film grain. No
|
||||||
|
text, no captions, no watermark; all signs, posters and record sleeves are blank
|
||||||
|
or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a3s2_death [The Guy]
|
||||||
|
The record store dance aisle. The elastic band snaps back off the balloon and
|
||||||
|
catches The Guy square between the eyes; he stands perfectly still for a beat,
|
||||||
|
eyes crossing, then falls backward rigid as a plank into a display of records
|
||||||
|
that collapses around him like applause. The clip ends held on this frame.
|
||||||
|
Static wide. 1980s hand-drawn cel animation, thick ink outlines, painterly
|
||||||
|
gouache backgrounds, film grain. No text, no captions, no watermark; all signs,
|
||||||
|
posters and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a3s3_action ⑂ [The Guy + The Clerk(Dez)] (the beaded curtain — WORD 5: VERSION)
|
||||||
|
A record store counter at night, tense low light. The Clerk studies The Guy for
|
||||||
|
a long moment, then wordlessly reaches under the counter; a beaded curtain
|
||||||
|
behind him begins to glow and sway with tomb-opening gravity, beads clicking
|
||||||
|
like a countdown, as The Guy's face fills with awe. Slow push-in through the
|
||||||
|
parting beads. 1980s hand-drawn cel animation, thick ink outlines, painterly
|
||||||
|
gouache backgrounds, film grain. No text, no captions, no watermark; all signs,
|
||||||
|
posters and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a3s3_death [The Guy]
|
||||||
|
A record store counter at night. The Guy attempts to walk through the beaded
|
||||||
|
curtain before being invited and the beads constrict around him like a net,
|
||||||
|
lifting him gently off the floor where he dangles rotating slowly, resigned.
|
||||||
|
The clip ends held on the slow rotation. Static shot. 1980s hand-drawn cel
|
||||||
|
animation, thick ink outlines, painterly gouache backgrounds, film grain. No
|
||||||
|
text, no captions, no watermark; all signs, posters and record sleeves are blank
|
||||||
|
or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a3s4_action ⭐ [The Guy] (the white label — the MacGuffin)
|
||||||
|
A dim storeroom stacked with record boxes, one spotlight. A briefcase on a
|
||||||
|
crate clicks open by itself, flooding the room with golden light; The Guy's awed
|
||||||
|
face is bathed in the glow as he lifts out a pure white-sleeved record with
|
||||||
|
both hands, holding it like a newborn, dust motes wheeling in the beam. It was
|
||||||
|
always there. Slow orbital shot. 1980s hand-drawn cel animation, thick ink
|
||||||
|
outlines, painterly gouache backgrounds, film grain. No text, no captions, no
|
||||||
|
watermark; all signs, posters and record sleeves are blank or abstract designs
|
||||||
|
with no lettering.
|
||||||
|
|
||||||
|
a3s4_death [The Guy]
|
||||||
|
A dim storeroom stacked with record boxes. The tower of boxes beside The Guy
|
||||||
|
leans, pauses courteously as if waiting for him to notice, then buries him
|
||||||
|
completely; the white-sleeved record flutters down and lands face-up on the
|
||||||
|
pile, immaculate. The clip ends held on the record atop the pile. Static shot.
|
||||||
|
1980s hand-drawn cel animation, thick ink outlines, painterly gouache
|
||||||
|
backgrounds, film grain. No text, no captions, no watermark; all signs, posters
|
||||||
|
and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a3s5_action [The Guy] (the card terminal — bomb defusal)
|
||||||
|
A record store counter, harsh spotlight, sweat-drop tension. The Guy hovers a
|
||||||
|
bank card over a chunky payment terminal shot like a bomb-defusal: extreme
|
||||||
|
close-ups of his eyes, the card trembling, one bead of sweat falling in slow
|
||||||
|
motion — then the gentle tap, a soft green glow, and his knees buckle with
|
||||||
|
relief. Intercut close-ups. 1980s hand-drawn cel animation, thick ink outlines,
|
||||||
|
painterly gouache backgrounds, film grain. No text, no captions, no watermark;
|
||||||
|
all signs, posters and record sleeves are blank or abstract designs with no
|
||||||
|
lettering.
|
||||||
|
|
||||||
|
a3s5_death [The Guy]
|
||||||
|
A record store counter, harsh spotlight. The payment terminal emits a single
|
||||||
|
soft decline chime; the lights dim, a cold wind ruffles The Guy's hair, and he
|
||||||
|
ages ten years on the spot, hollow-eyed, as the card slides from his fingers.
|
||||||
|
The clip ends held on his thousand-yard stare. Slow push-in. 1980s hand-drawn
|
||||||
|
cel animation, thick ink outlines, painterly gouache backgrounds, film grain. No
|
||||||
|
text, no captions, no watermark; all signs, posters and record sleeves are blank
|
||||||
|
or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a3s6_action ⑂⭐ [The Guy + Becky] (THE FIVE WORDS — the finale)
|
||||||
|
The shop entrance at night, the wall of superfans swaying as one organism,
|
||||||
|
Becky atop her milk crate, megaphone lowered. The Guy steps forward, plants his
|
||||||
|
feet, and speaks five unheard words counted on his fingers, one by one, each
|
||||||
|
finger-count landing like a thunderclap with a pulse of light, as the crowd's
|
||||||
|
swaying gradually stills and every head tilts in unison. Epic slow push-in.
|
||||||
|
1980s hand-drawn cel animation, thick ink outlines, painterly gouache
|
||||||
|
backgrounds, film grain. No text, no captions, no watermark; all signs, posters
|
||||||
|
and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a3s6_death ⭐ [The Guy] (the Becky-grue — canon: never improvise the words)
|
||||||
|
The shop entrance at night. The Guy improvises, gesturing jazz-hands vaguely on
|
||||||
|
the third finger-count; the crowd's heads all snap toward him at once, the
|
||||||
|
streetlights die one by one down the block, and the last frame is his small
|
||||||
|
gulp in darkness lit only by a hundred pairs of narrowed eyes. The clip ends
|
||||||
|
held on the eyes. Static wide, darkening. 1980s hand-drawn cel animation, thick
|
||||||
|
ink outlines, painterly gouache backgrounds, film grain. No text, no captions,
|
||||||
|
no watermark; all signs, posters and record sleeves are blank or abstract
|
||||||
|
designs with no lettering.
|
||||||
|
|
||||||
|
a3s7_win ⭐ [The Guy + Gerald]
|
||||||
|
A suburban brick fence in golden dawn light. The Guy kneels and presents an
|
||||||
|
opened cat-food can to Gerald with bowed head like a knight offering tribute;
|
||||||
|
Gerald regards it, regards him, takes one unhurried bite, and permits a single
|
||||||
|
head-bump against The Guy's outstretched hand as the sun crests the rooftops.
|
||||||
|
The clip ends held on the head-bump. Reverent low angle. 1980s hand-drawn cel
|
||||||
|
animation, thick ink outlines, painterly gouache backgrounds, film grain. No
|
||||||
|
text, no captions, no watermark; all signs, posters and record sleeves are blank
|
||||||
|
or abstract designs with no lettering.
|
||||||
|
|
||||||
|
a3s8_stinger ⭐ [The Guy] (post-credits — Morp in the mirror)
|
||||||
|
Interior of the beige hatchback at dawn, The Guy exhales in the driver's seat
|
||||||
|
and checks the rear-view mirror: filling the mirror is a colossal serene
|
||||||
|
god-face of swirling purple and gold energy with a halo of lens flares,
|
||||||
|
infinitely calm, infinitely disappointed. The Guy blinks; the mirror shows only
|
||||||
|
road. He drives. The clip ends held on the empty mirror. Static interior shot.
|
||||||
|
1980s hand-drawn cel animation, thick ink outlines, painterly gouache
|
||||||
|
backgrounds, film grain. No text, no captions, no watermark; all signs, posters
|
||||||
|
and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
### SPECIALS
|
||||||
|
|
||||||
|
bm_attract [no characters]
|
||||||
|
Slow dolly across a suburban shopping strip at dusk toward one glowing record
|
||||||
|
shop window, a wall of superfans swaying gently outside it, litter drifting
|
||||||
|
cinematically, one distant streetlight flickering. Loopable mood shot, nothing
|
||||||
|
else happens. 1980s hand-drawn cel animation, thick ink outlines, painterly
|
||||||
|
gouache backgrounds, film grain. No text, no captions, no watermark; all signs,
|
||||||
|
posters and record sleeves are blank or abstract designs with no lettering.
|
||||||
|
|
||||||
|
bm_title ⭐ [no characters]
|
||||||
|
A grand orchestral title sequence over a suburban shopping strip at dawn: five
|
||||||
|
blank ornate title cards dissolve one into another, each more gilded and
|
||||||
|
self-important than the last, each an abstract title-shaped block with no
|
||||||
|
readable letters, the final card shattering into paper fragments that whirl
|
||||||
|
toward the record shop. Sweeping aerial. 1980s hand-drawn cel animation, thick
|
||||||
|
ink outlines, painterly gouache backgrounds, film grain. No text, no captions,
|
||||||
|
no watermark; all signs, posters and record sleeves are blank or abstract
|
||||||
|
designs with no lettering.
|
||||||
|
|
||||||
|
bm_sequelbait [no characters] (THE MORPING HORROR 2 teaser — deliberately awful)
|
||||||
|
Gritty desaturated rain on a night street, a silhouette morphing badly between
|
||||||
|
shapes with cheap stretching, random lightning, an abrupt zoom on nothing. It
|
||||||
|
looks worse than the game of the book of the movie of the game, on purpose. The
|
||||||
|
clip ends on an abrupt cut to black. Handheld shaky shot. 1980s hand-drawn cel
|
||||||
|
animation degraded toward murky 2000s grading, thick ink outlines barely
|
||||||
|
visible, film grain heavy. No text, no captions, no watermark; all signs are
|
||||||
|
blank.
|
||||||
|
|
||||||
|
bm_needleskip [no characters]
|
||||||
|
A suburban shopping strip scene judders violently sideways twice like a
|
||||||
|
skipping record, images tearing and repeating with horizontal displacement,
|
||||||
|
then snaps to black. One-second transition effect, no people. 1980s hand-drawn
|
||||||
|
cel animation, thick ink outlines, painterly gouache backgrounds, film grain.
|
||||||
|
No text, no captions, no watermark; all signs are blank.
|
||||||
|
|
||||||
|
---
|
||||||
|
## 4. RUN ORDER FOR TONIGHT
|
||||||
|
1. Cast: Guy → Barry → Becky → Gerald → Morp face → import Dez as The Clerk.
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(Post each to the chat if anything drifts — watch-lists above have the fixes.)
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2. Barry PiP pack ×4 — cheapest, prove the pipeline on them.
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3. Act 1 (7 shots) → Act 2 (12) → Act 3 (14) → Specials (4). Two takes each.
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4. ⭐Quality (6 shots: a3s4, a3s6 both, a3s7, a3s8, bm_title) LAST, when you're
|
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|
sure the cast is holding.
|
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|
5. Download EVERYTHING as you go. Console harvester
|
||||||
|
(tools/flow_console_harvest.js) works on any project as a sweep at the end.
|
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6. Tomorrow: I sort the haul (the 14-agent workflow is reusable as-is), the
|
||||||
|
engine gets a second scenes.json, and Beyond Morp becomes game #19 on the
|
||||||
|
arcade next to its own ancestor. Barry will have notes.
|
||||||
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Reference in New Issue
Block a user