EPISODE 6 –      JUST DESSERTS

Writer’s Notes

The third and final act opens here. This is where the final confrontation with the witch will occur.

In the lead up to this I still needed to announce Rapunzel’s determination to rescue Franz and then test Rapunzel’s commitment to opposing the witch. To do this I added a couple of quick scenes in which Rapunzel is forced to overcome a series of obstacles in order to reach the witch’s fortress (the long climb, a wolf, it’s pack, and then a nasty fall). With each test she shows herself more committed to her goal.

The central conflict is spread across scenes 22 to 25.

In these scenes Rapunzel’s goal is to reach the fortress.

The obstacles she faces are the mountain itself, and wild wolves.

Disaster overtakes her when she breaks an ankle just before the fortress while being pursued by wolves.

She faces a dilemma concerning whether to give up and die, abandon the quest, or push through the pain and press on.

Her choice is to press on.

Act 3

SCENE 22:    EXT – THE RUINED TOWER – DAY
(RAPUNZEL)

1. MUSIC: OPENING THEME – LET IT FINISH.
2. SOUND: (WALLA) STORM AND RAIN – ESTABLISH AND UNDER.
3. NARRATOR: Once upon a time in a faraway land, if the old tales are to be trusted, a baby was stolen from her parents by a witch named Esmerelda, though her father never gave up his search for her. The witch raised her in secret and was so jealous of her attention that she kept her locked in a tower where none might find her. The witch tried to be kind after her own fashion. She would kidnap children and (unbeknownst to Rapunzel) turn them into statues for Rapunzel’s garden. When Rapunzel at last met a prince from the outside world the witch’s rage was immense. She cast Rapunzel out, destroyed the tower and blinded the prince, taking him prisoner, before retiring to her mountain fortress.
4. SOUND: CRACKLE OF THUNDER AND LIGHTNING – LET IT FINISH.
5. NARRATOR: And so, Rapunzel lost everything. Her Prince was captured, and her home destroyed, razed to the ground in a firestorm of magic. The life she had always known was now lost to her…
6. SOUND: MEOW OF MISERABLE, WET CAT – LET IT FINISH.
7. RAPUNZEL: Come here Felix, you poor wet thing. At least she didn’t find you. We’ve got a long way to go.
8. SOUND: QUESTIONING MEOW – LET IT FINISH.
9. RAPUNZEL: She thinks she has broken me. As if all her… her abuse, hasn’t made me stronger. She wants me broken and compliant. Well, not this time.
10. SOUND: ANOTHER QUESTIONING MEOW – LET IT FINISH.
11. RAPUNZEL: We’re going to find her fortress. We’re going to find her and rescue Franz.
12. SOUND: DUBIOUS CAT MEOW – LET IT FINISH.
13. RAPUNZEL: I know. I’m not certain I can do it either. But I know the rough direction she would always come from and fly back to when she visited. Flying is faster than walking, and more direct, but she visited pretty much daily, so it can’t be that far.
14. SOUND: DUBIOUS CAT MEOW – LET IT FINISH.
15. RAPUNZEL: (SIGHS) Come on. It’s all uphill and it’s going to be a long climb.
16. MUSIC: TIME PASSING SCENE ENDER – LET IT FINISH

SCENE 23:    EXT – THE FOREST – LATER
(RAPUNZEL)

17. SOUND: (WALLA) HEAVY RAIN AND TRUDGING THROUGH PUDDLES – ESTABLISH AND UNDER
18. RAPUNZEL: Oh, Felix, It’s been hours. I wish this rain would stop. My dress is ripped and sodden, and my feet ache.
19. SOUND: PATHETIC CAT MEOW – LET IT FINISH.
20. RAPUNZEL: I know, you’re cold and wet too. But at least you’ve been carried along in my pocket. I’m the one who’s had to do all the work. (BEAT)   Well, at least we’ve stayed roughly on track… I think… it’s hard to tell with the clouds hiding the sun. But we’ve definitely been going uphill. My legs and back are telling me that quite insistently. (BEAT) It looks like the trees are starting to thin out at last. Maybe when we get past these trees we’ll have a better sense of… Oh, no!
21. SOUND: QUIZZICAL CAT MEOW – LET IT FINISH.
22. RAPUNZEL: No wonder it’s been feeling so cold. Look, we’re part way up the mountain.
23. SOUND: HOPEFUL CAT MEOW – LET IT FINISH.
24. RAPUNZEL: But we’ve still got so much further to go… and there’s snow up there. I think I can see the fortress though. It’s ugly and cruel looking. I don’t know why I never saw the cruelty in mother before. It’s all so obvious now.
25. SOUND: QUIZZICAL CAT MEOW – LET IT FINISH.
26. RAPUNZEL: Let me catch my breath Felix. That’s going to be quite a climb… and I don’t know how well these boots are going to stand up to the snow. I think I should stop and wrap my feet.
27. SOUND: DISTANT WOLF HOWL – LET IT FINISH.
28. SOUND: CAT HISS – LET IT FINISH.
29. RAPUNZEL: Oh no, a wolf. Hopefully it’s not hunting us. Still, we can’t wait here. We will have to keep moving.
30. SOUND: MUDDY FOOTFALLS HURRYING FORWARDS – ESTABLISH AND FADE OUT.
31. MUSIC: TIME PASSING SCENE ENDER – LET IT FINISH.

SCENE 24:    EXT – THE MOUNTAIN SIDE – LATER
(RAPUNZEL)

32. SOUND: (WALLA) WIND HOWLING NEARBY – ESTABLISH AND UNDER.
33. RAPUNZEL: (PANTING) It’s been chasing us for an hour. I can’t go on like this without resting.
34. SOUND: PLAINTIVE MEOW – LET IT FINISH
35. RAPUNZEL: (PANTING) I have to stop… I have to…
36. SOUND: DEEP WOLF GROWL VERY NEAR BY – LET IT FINISH>
37. RAPUNZEL: No! (BREATHES HEAVILY) Get behind me Felix. I’m going to pick up this…
38. SOUND: ROCK SCRAPING NOISE – DUCK UNDER.
39. RAPUNZEL: … rock and try to defend us.
40. SOUND: CAT HISS – LET IT FINISH.
41. RAPUNZEL: (SLOW AND PLACATING) All right you horrifying monster. Take it easy… easy… (SCREAMS – UNDER)
42. SOUND: VICIOUS BARK OF DOG ATTACKING CUT OFF WITH YIPPING WHINE OF PAIN – LET IT FINISH.
43. RAPUNZEL: (PANTING) Oh no, it bit me. It doesn’t look too deep, but I’m bleeding freely… and it hurts. (BEAT) Is the wolf dead?
44. SOUND: LOW DOGGY MOAN – LET IT FINISH.
45. RAPUNZEL: (TEARFUL) I’m sorry wolf, I can’t have you coming after me. I’m sorry I just…ugh!
46. SOUND: SMACK OF STONE AND YIP OF DOG FOLLOWED BY LOW DOGGY MOAN AND SHALLOW DOGGY BREATHING.
47. SOUND: SECOND SMACK OF STONE. FINAL YIP FROM WOLF. THEN SILENCE. – LET IT FINISH.
48. RAPUNZEL: (BREATHING HARD) There. It’s done. Come here Felix, climb back in my pocket.
49. SOUND: RELIEVED CAT’S MEOW – LET IT FINISH.
50. RAPUNZEL: At least we’re a lot closer now. It looks like the fortress is just past that ridge. It’s not nearly as big as it looked from below either. (BEAT) But I don’t understand. Wolves usually hunt in packs… It’s quite unusual to hear one on its own, isn’t it?
51. SOUND: DISTANT BAYING OF MANY WOLVES – LET IT FINISH.
52. RAPUNZEL: Oh, I had to ask!
53. MUSIC: TIME PASSING SCENE ENDER – LET IT FINISH.

SCENE 25:    EXT – THE FORTRESS – LATER

54. SOUND: (WALLA) HOWLING WIND, SHEETS OF RAIN, ETC. – ESTABLISH AND UNDER
55. SOUND: (NEARBY BUT NOT PRESENT) BAYING OF WOLVES – CONTINUE UNTIL 1170.
56. SOUND: FOOTSTEPS RUNNING IN DIRT – CONTINUE UNDER UNTIL 1166.
57. RAPUNZEL: (PANTING AS SHE RUNS) They’re gaining but the fortress is so close. I… (PANICKED) I can’t see a way in. There’s no door! (BEAT) No wait, I can see a window, an opening in the wall. It’s about twelve feet up. If I can climb to it, that should put me out of their reach.
58. SOUND: FOOTSTEPS ON STONE – CONTINUE UNDER
59. RAPUNZEL: We’re nearly there Felix. (BEAT) We’re crossing a causeway and the wall’s just ahead.
    (BEAT) We’re here. We’re here! (BEAT) Now to climb. Hang on you silly old cat. Hang on.
    (GRUNTS OF CLIMBING) Ugh, uh, Mmmf, mmm. It’s so slippery.(SCREAMS) Aaaah.
60. SOUND: SOUND OF SCRABBLING THEN CRUNCH OF BONE – LET IT FINISH.
61. RAPUNZEL: (IN ANGUISH) Ahhh. My leg. Oh my leg. It’s not going to take my weight.
62. SOUND: GROWLS AND YIPS OF APPROACHING WOLVES – DUCK UNDER.
63. RAPUNZEL: No, not now. Not when I’m almost there. Felix? Felix, it can’t end like this. Not like this. I can’t just die here, eaten by wolves… I… I have to try again. But… No! No buts. I’ve got three limbs that work. I can make it.
64. SOUND: WOLVES LEAPING, SNAPPING AND SNARLING AT RAPUNZEL’S HEELS – DUCK UNDER AND FADE ON 1174
65. RAPUNZEL: (BEAT) (MUCH MORE PAINFUL GRUNTS OF CLIMBING) Aaargh. Ummm. Aaaah. Uuugh.
66. SOUND: FADE WOLVES – LET IT FINISH.
67. RAPUNZEL: (SIGHING) Ahh. I made it… I…uhhh.
68. SOUND: RAPUNZEL COLLAPSES INSIDE THE WINDOW LET IT FINISH.
69. SOUND: CONCERNED CAT MEOWS – FADE OUT.
70. MUSIC: NEUTRAL SCENE ENDER – LET IT FINISH.

Writer’s Notes

Scenes 26 to 29 form the final confrontation in our structure. These scenes also provide the opportunity to bring each of the three remaining character arcs to their resolution. In these scenes we will see Rapunzel demonstrate her new-found independence once and for all. Franz will demonstrate his commitment to the responsibilities of Kingship by offering his own life in place of his people. And the witch will cement her choice in favor of cruel love for Rapunzel.

The central conflict of these scenes focuses on Rapunzel.

Her goal is to rescue Franz.

The obstacle is the witch.

Disaster strikes when the witch interrupts the rescue attempt.

A dilemma is presented when the witch attempts to force Rapunzel to choose between death, the prince, the lives of the people in the Kingdom, and a renewed life with her.

Rapunzel’s choice is death.

The witch realizing she has been defeated by Rapunzel’s choice commits suicide rather than try to live without her.

SCENE 26:    INT – FORTRESS – LATER
(RAPUNZEL, ESMERELDA)

71. ESMERELDA: (CACKLING IN THE DISTANCE – FADE IN) Ahahahaha.
72. RAPUNZEL: (WAKING UP) Ohhh. Where..? No wait. I remember… The wolves! But no, they’re gone… Ugh. I’m in… inside the fortress. I made it. But… I must have passed out… and… (GROANS) ugh … my leg is hurt and I’ve been bleeding.
73. SOUND: CAT’S CONCERNED MEOW – LET IT FINISH.
74. RAPUNZEL: Felix! You’re okay. Come here you stupid cat.
75. SOUND: CAT’S AFFECTIONATE MEOW – LET IT FINISH.
76. RAPUNZEL: We have to find the Prince. Where do you think mother has put him? In a tower? Or a dungeon?
77. SOUND: CAT’S NON-COMMITTAL MEOW – LET IT FINISH.
78. RAPUNZEL: You’re not much use you know? I vote we try upstairs first. (GRUNTS AS SHE GETS UP) Ugh.
    This is going to be slow and painful.
79. SOUND: LIMPING FOOTSTEPS ON STONE – FADE OUT.
80. MUSIC: NEUTRAL SCENE ENDER – LET IT FINISH.
    

SCENE 27:    INT – FORTRESS TOWER – LATER
(RAPUNZEL, ESMERELDA)

81. SOUND: (WALLA) BUBBLING OF CAULDRON – ESTABLISH AND UNDER.
82. SOUND: LIMPING FOOTSTEPS – FADE IN AND STOP.
83. ESMERELDA: (CACKLING) Hahahahahaa. (BEAT) (TO HERSELF) You think you can reject me do you girl? I raised you. You want to spend time with those… those others instead of with your dear mother? Well? You’ve made your choice. But let’s see who you want to spend time once they’re all dead, hmmm? You’ll come crawling back to me then, won’t you? Once I perfect and release this plague there will be no-one but you and me. (PITIFUL) And things can be like they used to be again. Just you and me… happy together. (BRUSQUE) Now, where did I put that eye of newt?
84. RAPUNZEL: (STAGE WHISPER) Oh no. Felix, what is she planning? We’ve got to find a way to stop her… but first we have to find Franz… come on…
85. SOUND: LIMPING FOOTSTEPS – FADE OUT.
86. MUSIC: NEUTRAL SCENE ENDER – LET IT FINISH.

SCENE 28:    INT – FORTRESS DUNGEON – LATER
(RAPUNZEL. ESMERELDA, PRINCE)

87. SOUND: OCCASIONAL DRIPS OF WATER – PLAY UNDER.
88. FRANZ: (MOANING IN THE DISTANCE) Uhhh.
89. SOUND: LIMPING FOOTSTEPS – FADE IN AND STOP.
90. FRANZ: You’re back. Not again! Please!
91. RAPUNZEL: Oh, Franz. Shhhhh. It’s me Rapunzel. What has mother done to you? You’re bleeding all over… and your eyes, your poor eyes.
92. FRANZ: She’s been torturing me. With knives and burning coals and even clubs I think. I can’t even tell how much time has passed.
93. RAPUNZEL: It’s all right Franz, I’m here to get you out. I just need to figure out how to unlock… oh, against the wall there’s a key. I’ll get the chains off you in a moment.
94. FRANZ: Oh, thank you. And hurry. I don’t know how long she’ll be gone…
95. ESMERELDA: (FAKE SWEETNESS) Well, what have we here? A cosy little reunion, is it? Pardon me for intruding.
96. RAPUNZEL: Mother!
97. FRANZ: Oh no!
98. ESMERELDA: (STILL FAKELY SWEET) Aren’t you happy to “see” me again dear boy? (BEAT)
    (TURNING SOUR AND TO RAPUNZEL) And you, how did you get here?
99. RAPUNZEL: Never mind that. I’m here to free Franz.
100. ESMERELDA: Franz, is it now? Well, you don’t look like you’re in much condition to do anything about his situation, realistically speaking. Is that a wolf bite on your arm? And your ankle looks like it’s bending slightly the wrong way. It looks quite painful in fact. Is it?
101. RAPUNZEL: (ANGRY) Yes. It’s painful.
102. ESMERELDA: I warned you didn’t I? I warned you that the world wasn’t safe. I warned you that you would be hurt out there. Do you see? Do you see, now, why you shouldn’t have betrayed your mother?
103. RAPUNZEL: You’re insane.
104. ESMERELDA: No, I was right all along. This is what the world does. This is how it was always going to treat you. It’s what I protected you from.
105. RAPUNZEL: Protected me? You shut me up in a tower for most of my life. I never had a friend, aside from Felix…
106. ESMERELDA: And I should have strangled the animal years ago… I’m too soft-hearted by half.
107. RAPUNZEL: You’ve done nothing but torment and abuse me my whole life.
108. ESMERELDA: (WHEEDLING) But always for your own good. You have to see that.
109. RAPUNZEL: I’m sure you believe it. I’m sure that you’ve let your self-interest, your own selfish fear of being alone, blind you to what you’ve really been doing. (BEAT)
     You raised me, you did. You did the minimum necessary to keep me fed, clothed, and sheltered. And all the while you convinced yourself you loved me.
110. ESMERELDA: (PLEADING) I did. I mean, I do.
111. RAPUNZEL: But everything you’ve done. Every inconvenience you’ve borne on my behalf has been to serve your own selfish ends… to give you company in your old age – someone to look after you. And now, I learn that I’m not even really your daughter…
112. ESMERELDA: No!
113. RAPUNZEL: …that you stole me from my real parents.
114. ESMERELDA: Who told you that? Was it this lying prince?
115. RAPUNZEL: Why would he lie? I’m nothing to him. I’ve been learning the truth. The last few days have revealed it. The world is hard and cruel.
116. ESMERELDA: Yes. Yes, see I told you…
117. RAPUNZEL: But it’s cruel and hard because of people like you. You take the bitterness of winter and make it cruel with your callous selfishness and disregard for others. You would rather cut out a man’s eyes in vengeance than admit that your selfishness brought this upon yourself.
118. ESMERELDA: Was I selfish to want to give you gifts, to bring you those statues? I did it for you. Everything I’ve done I did for you. Even the situation you are in now. It’s so you can learn, so you’ll come back to me.
119. RAPUNZEL: And there it is. You treat the lives of others, even my life, like it is of no account. In the end it’s all about you. And you disgust me. I’m not your daughter.
120. ESMERELDA: Is that so? Then if that is how you want it to be… If you think you’re a “responsible adult” now… then I’m going to give you and your “love” here a choice.
     (BEAT) I have been wronged, whatever you may think. That which I loved most has been stolen from me and I will have my revenge!
     I’m going to kill everyone in this miserable Kingdom.
121. FRANZ: You couldn’t. Not even you have the power to kill so many innocents.
122. ESMERELDA: Innocents? Huh! They steal and kill and cheat one another all the time. None of them are innocent.
123. RAPUNZEL: She can do it, too. She has been brewing some kind of plague up in her tower.
124. ESMERELDA: Oh, you saw that did you? And you didn’t even say hello. How rude! (BEAT)
     Well, it’s true. I’m going to kill them all… or… I’ll kill your prince… or… I’ll kill both your prince and all the people in the Kingdom, that would work too, but you have to choose, Rapunzel. Who will die? It’s up to you. Will you kill this Prince and come back to me and save his people? Will you keep your prince and let his people die? Or have you learned your lesson and will you let go of all of them? We could be happy again, you know? All you have to do is choose in favour of your poor dear mother, and against this pathetic prince and his people.
125. FRANZ: It’s all right. Let me die. Save my people.
126. ESMERELDA: Are you such a coward, “Franz”? Is all you want a quick way out? (TO RAPUNZEL) Look at this snivelling wretch you’ve given your heart to, Rapunzel. Is he really worth it?
127. FRANZ: You know nothing, crone. I am now the King of this land. And any King who wouldn’t gladly give his life for his people isn’t worthy of the title.
128. RAPUNZEL: Franz, no!
129. FRANZ: It’s all right Rapunzel. All my choices of late have gone awry. At least in this I am sure of my duty.
130. ESMERELDA: (SNEERING) Oh, what a pretty speech. Well, Rapunzel. Does it make you care for him all the more? Will you choose him over the lives of all those “innocents”… or are you as repulsed by him as I am. I’m still your mother. What will it be?
131. RAPUNZEL: You can’t help yourself can you? You think that this proves anything? You want me to choose? Then I choose me. Kill me in place of Franz and his people. You say you have been wronged and demand revenge? Well I’m the one who hurt you. Kill me in place of these others.
132. ESMERELDA: (SUDDENLY FRIGHTENED) No!
133. RAPUNZEL: Yes. You claim you’ve loved me. That everything you’ve done has been for me. But if you kill Franz and all those people you will be killing me as truly as if you plunged the knife in right here. So, kill me and let them go!
134. ESMERELDA: No. You were supposed to choose me!
135. RAPUNZEL: I’m waiting mother. Pick up the knife.
136. FRANZ: Rapunzel, no.
137. RAPUNZEL: Go on mother, pick up the knife. Come and kill me with it. Show me that I’ve been right all along. Prove to me that this is, and always has been, all about you.
138. SOUND: BRIEF SCRAPING OF KNIFE BEING PICKED UP – LET IT FINISH
139. RAPUNZEL: That’s it mother, bring the knife over here and strike me down.
140. ESMERELDA: (CRYING NOW) You wicked child. You wicked, evil child. That’s all children are, you know? Tears and heartbreak and pain. You think you’ve won. You think I can’t kill you, but there’s still one thing I can do, one last way to pay you back for your betrayal. It’s all your fault Rapunzel. Yours and yours alone. You drove me to this.
141. RAPUNZEL: Mother, no!
142. SOUND: KNIFE PLUNGING INTO FLESH – LET IT FINISH.
143. ESMERELDA: (GARGLING DEATH CRY) Aaaargh!
144. SOUND: BODY FALLS TO GROUND – LET IT FINISH.
145. FRANZ: What’s happening. Rapunzel? Rapunzel, are you all right?
146. RAPUNZEL: I’m all right, Franz. She’s… she’s dead. She killed herself.
147. SOUND: UNLOCKING OF CHAINS – LET IT FINISH.
148. RAPUNZEL: Easy. Let me help you down. (BEAT) Sit here for a minute. My mother (SOB THEN TOUGHENING)… my mother kept potions in her tower. They should be able to heal your wounds.
149. FRANZ: Please, don’t leave me here again.
150. RAPUNZEL: It’s all right Franz. Nothing will hurt you now… and I won’t be very long. I’m going to leave Felix with you.
151. FRANZ: Felix?
152. SOUND: CAT’S FRIENDLY MEOW – LET IT FINISH.
153. FRANZ: Ah, that must be Felix. I didn’t know you had a cat.
154. RAPUNZEL: I’ll be back shortly. If we’re lucky, she may even have something that can restore your eyes.
155. SOUND: LIMPING STEPS – FADE OUT.
156. SOUND: NEUTRAL SCENE ENDER – LET IT FINISH.

SCENE 29:    INT – FORTRESS DUNGEON – LATER
(FRANZ, RAPUNZEL)

157. SOUND: CAT’S MEOW.
158. RAPUNZEL: No don’t move, Franz, I’ll spill the potion. Just drink it… slowly.
159. FRANZ: (GULPS LIQUID).
160. SOUND: MAGICAL CHIMES – LET THEM FINISH.
161. FRANZ: It tastes terrible.
162. RAPUNZEL: Yes, it smells terrible too.
163. FRANZ: But I’m starting to feel better… and… and my eyes! I’m starting to see, though everything’s so dark.
164. RAPUNZEL: Oh, Franz, that’s wonderful. The potion is working. Don’t worry about the dark. We’re in a dungeon. Here, finish the rest of it.
165. FRANZ: What about you? The witch… I mean your mother… said you were hurt.
166. RAPUNZEL: I’ll be fine. There’s enough here for me as well. When we’ve recovered, we’ll head out and make our way back down to the tower.
167. FRANZ: Why the tower? Didn’t she destroy it?
168. RAPUNZEL: Have you forgotten the statue garden? Your sister is there.
169. FRANZ: I thought she was destroyed with the tower. I couldn’t see and the witch…
170. RAPUNZEL: No, it’s all right. The statues are fine and I’ve found the potions to free them. There should be enough if we’re careful.
171. FRANZ: That’s wonderful. How soon can we get under way?
172. RAPUNZEL: Let me see to my leg and we’ll go.
173. MUSIC: NEUTRAL SCENE ENDER – LET IT FINISH.

Writer’s Notes

With the final confrontation over, it is now time to tie up the loose ends and provide a window onto the aftermath of the story (the denouement). This is where the characters receive the reward of their labours and embark on a new life together.

I wanted to, notionally, include the twins (from the original story) in this adaptation while recognising that the framing of the original tale may not be acceptable in some school settings. The simplest solution that presented itself was to make the twins a pair of statues, rescued by Rapunzel, without homes of their own to go to.

The conflict built into the following scene aims at this resolution.

Rapunzel’s goal is to return all the statues to life and their families.

An obstacle arises in the form of the length of time some of the statues have existed. Some of them have been statues for some considerable period.

Disaster strikes when it is revealed that one pair of statues (the twins) are orphans.

The dilemma is whether to leave them to themselves, seek to resettle them, or take them in.

The choice is to offer them aid – though by stories end, it is to adopt them.

SCENE 30:    EXT – THE TOWER – LATER
(FRANZ, RAPUNZEL)

174. SOUND: (WALLA) FOREST AMBIANCE – ESTABLISH AND UNDER.
175. SOUND: FOOTSTEPS ENTERING CLEARING – LET IT FINISH.
176. RAPUNZEL: We’re here. Thank goodness. And no sign of the wolves.
177. FRANZ: Yes, we’re here. Your tower is nothing but a ruin, though.
178. RAPUNZEL: I know, but from what you told me, none of this is my land. It actually belongs to the palace.
179. FRANZ: Yes, she had some cheek setting up here. Very clever when you think about it. She hid you almost in plain sight.
180. RAPUNZEL: Let’s not talk about my Mother. I don’t want to think about that right now.
181. FRANZ: All right… but you know she wasn’t actually your mother, don’t you?
182. RAPUNZEL: Yes, I know it. But I don’t know what else to call her. And now that she’s… gone, it feels wrong, somehow, to start calling her something different.
183. FRANZ: All right. We’ve got work to do anyway. The statue garden is still standing, like you said.
184. RAPUNZEL: Shall we start with your sister?
185. FRANZ:
186. MUSIC: TIME PASSING SCENE ENDER – LET IT FINISH.

Writer’s Notes

This is the final scene of our play. Rapunzel is about to be reunited with her father, get engaged to the prince, and adopt a pair of twins all at once. But before all this can happen we have the opportunity to add one final source of conflict.

Rapunzel’s goal is to be reunited with her father.

Gustav is now old and does not recognise Rapunzel or trust the Prince that this is her. This is a significant obstacle.

Disaster strikes when he refuses to believe it is her. This is overcome when Gustav sees the gold heart that his wife attached to Rapunzel’s ankle as a baby.

The dilemma Rapunzel faces is to decide what form her new life will take. Will she live with her father, accept the prince’s proposal of marriage, or both? And what will she do with the twins?

Rapunzel’s choice is to present Franz with an ultimatum – one he accepts – that results in her not having to give up any of the options.

And they all live happily ever after.

SCENE 31:    EXT – THE TOWER – LATER
(RAPUNZEL, FRANZ, HILDE, TWIN #1, TWIN #2)

187. SOUND: (WALLA) FOREST AMBIANCE – ESTABLISH AND UNDER.
188. SOUND: MAGICAL CHIME – LET IT FINISH.
189. RAPUNZEL: There you are. You’re the last. We’ve freed all the others.
190. TWIN #2: Where am I? I feel so strange.
191. RAPUNZEL: You’ve been a statue. A… a witch cast a spell on you.
192. TWIN #2: The witch! I remember. We were running from her. It was snowing and she…
193. RAPUNZEL: It’s all right. You’re safe now. The witch has gone.
194. TWIN #2: But my sister… Where’s Gertie?
195. RAPUNZEL: She’s here. It’s all right.
196. TWIN #1: Marielle, oh Marielle, I’m so glad your safe.
197. TWIN #2: Oh Gertie. I’m so happy.
198. RAPUNZEL: Well, that’s the last of them. Those two were the oldest statues. They’ve been here for as long as I can remember.
199. FRANZ: They look like twins. I’ve sent the other children back to their village…
200. HILDE: But I’m still here, Franz. You haven’t forgotten about me, have you?
201. FRANZ: Never, Hilde. Come here I want to introduce you properly to the lady who rescued you.
202. HILDE: (TO RAPUNZEL, ALL IN A RUSH) Are you going to marry my brother?
203. FRANZ: (SPLUTTERING) Hilde! Um… children can be… a little… undiplomatic at times. Um… Hilde may I present Rapunzel, the woman who rescued me from the witch… and Rapunzel, may I present to you my sister, the princess Hildegard.
204. RAPUNZEL: It’s a pleasure to meet you Hildegard.
205. HILDE: Oh please. Call me Hilde. Everyone does, except maybe Franz when he’s angry. You really should marry him, you know. Lots of people think he’s funny looking but underneath he’s the best brother in the world. And, if you married him, then we could be sisters but…
206. RAPUNZEL: (LAUGHING) What is it?
207. HILDE: The two girls… They’re still here.
208. FRANZ: Girls? Have you forgotten the way back home.
209. TWIN #1: We don’t have a home M’Lord. We’re orphans. I think that’s why the witch picked us.
210. RAPUNZEL: Oh no. Franz, we have to do something.
211. FRANZ: All right. (TO THE GIRLS) For the moment I think you’d better come with us. We’ll see you get looked after properly, I promise.
212. TWIN #1: Thank you M’Lord.
213. TWIN #2: Yes, thank you.
214. HILDE: Yay!
215. FRANZ: But before we go back to the castle, there’s someone that Rapunzel needs to see.
216. RAPUNZEL: Oh?
217. FRANZ: Come on. It’s a reasonable distance but not too far. My father gave him permission to build a cottage to live in on the edge of this forest. (BEAT) He’s been waiting a very long time.
218. SOUND: FIVE SETS OF FOOTSTEPS – FADE OUT.
219. MUSIC: NEUTRAL SCENE ENDER – LET IT FINISH.

SCENE:       INTERIOR – GUSTAV’S COTTAGE – DAY
(GUSTAV, FRANZ, RAPUNZEL, HILDE, TWIN #1, TWIN #2)

220. SOUND: DISTANT FOREST AMBIANCE – ESTABLISH AND UNDER
221. SOUND: KNOCKING ON DOOR – LET IT FINISH.
222. GUSTAV: All right. All right. I’m coming already.
223. SOUND: DOOR OPENING – LET IT FINISH.
224. GUSTAV: Yes?
225. FRANZ: Gustav?
226. GUSTAV: This is Gustav’s house. I’m wearing Gustav’s shoes. And the last I looked, I still had Gustav’s face. Now what do you want?
227. FRANZ: Do you know who I am?
228. GUSTAV: Of course. You are the King’s son… actually the King now, I suppose. And you’ve come to ask me to release you from your father’s promise. Well, I won’t do it. Even if you throw me in jail… Even if you torture me…
     Even if you…
229. FRANZ: Stop it, Gustav. You’ll just embarrass yourself. I’m not here to weasel out of satisfying my father’s promise.
230. GUSTAV: You’re not? I mean… um… your majesty, please forgive an old man…
231. FRANZ: (INTERRUPTING) I’ve brought somebody to see you.
232. RAPUNZEL: (TENTATIVE) Hello Gustav.
233. GUSTAV: Good Lord. You look just like…
234. RAPUNZEL: Yes?
235. GUSTAV: Well, I mean to say… You look just like my Gertrude, dead these last eighteen years. (TO FRANZ) Is this a trick? What cruel game are you playing with me boy?
236. FRANZ: It’s not a trick. This is your daughter Rapunzel. I found her.
237. GUSTAV: I don’t believe it. How…
238. RAPUNZEL: Father? Father, is it really you?
239. GUSTAV: Stand still girl. I don’t know who you are or how you allowed yourself to be used in this way but… wait, what’s that on your arm?
240. RAPUNZEL: This? This gold chain with the heart on it? (BEAT) I’ve had it for as long as I can remember. It’s beautiful. I’ve been tempted to throw it away from time to time, but I could never bring myself to…
241. GUSTAV: (THROUGH TEARS) It’s you. It’s really you. My Rapunzel. The chain belonged to your grandmother and your mother fastened it around your ankle when you were born.
242. RAPUNZEL: Oh, Papa. I never dreamed…
243. FRANZ: I hate to break up this reunion but…
244. GUSTAV: No! Please don’t take her away from me. Not after letting me look on her with my own eyes once more.
245. FRANZ: No, I won’t separate you. But I do need to ask you a question.
246. GUSTAV: A question?
247. FRANZ: Yes, as Rapunzel’s father, I need to ask you if… if you would have any objection to my asking for her hand in marriage?
248. RAPUNZEL: Franz?
249. FRANZ: I know, this is rushed, and I know my looks don’t put me in good stead but…
250. RAPUNZEL: Oh Franz, yes! Yes, I’ll marry you!
251. HILDE: Really! (SCREAMS HAPPILY) That’s great.
252. FRANZ: Where did you come from?
253. HILDE: I know you said we should wait for you at the edge of the clearing but… well I admit it, I was nosy, so we…
254. FRANZ: We?
255. HILDE: Well, I couldn’t leave the twins behind and we…
256. TWIN #1: Sorry.
257. TWIN #2: Yes, sorry.
258. GUSTAV: I’m beginning to feel somewhat irrelevant to your question young man. Since my daughter seems to have made her mind up for herself.
259. FRANZ: (VERY HAPPY) Er… yes. Well… This didn’t happen the way I planned it but…
260. RAPUNZEL: On one condition.
261. FRANZ: (SOBERNG) On… one… condition?
262. RAPUNZEL: Yes. Father and the twins come to live with us.
263. FRANZ: (TAKING A DEEP BREATH AND LETTING IT OUT WITH RELIEF) I’ve never been happier to agree to an ultimatum.
264. HILDE, TWIN #1, TWIN #2: (CHEER) Yay!
265. NARRATOR: And they all lived happily… well, you know the rest.
266. MUSIC: CLOSING THEME

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Lessons

• Lesson 1 : The Science Behind Radio
• Lesson 2 : The History of Commercial Radio
• Lesson 3 : Appreciating Radio Drama
• Lesson 4 : Reading Radio Drama Scripts
• Lesson 5 : Performing Radio Drama
• Lesson 6 : Scripting Radio Drama

Worked Example (Radio Adaptation of Rapunzel)

• Appendix : Writer’s Notes on Adapting Rapunzel for Radio
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 1, Gustav the Hunter
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 2, Kidnapping
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 3, Desperate Measures
• Example Radio Play with writer’s notes) : Rapunzel for Schools
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 5, Fateful Meeting
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 6, Just Desserts

The post Rapunzel for Schools – Episode 6 – Just Desserts appeared first on Host Your Own Old Time Radio Drama.

EPISODE 5:       FATEFUL MEETING

Writer’s Notes

Though we start with our focus on Rapunzel, the scene is really an extension of Franz’ search for his sister. The conflict in the scene in essence belongs to Franz.

Franz’ goal is to find his sister.

The major obstacle he faces (implied by the last scene of episode 4) is that there are no tracks for him to follow.

Disaster strikes when he finds his sister turned to stone in front of Rapunzel’s tower.

The dilemma Franz faces is whether to rescue the girl in the tower, go back for soldiers to assist him, or enlist the girl’s help.

His choice is to enlist Rapunzel’s help.

The scene is also designed to introduce Franz and Rapunzel to one another for the first time, establish the immediate attraction between them, and then establish the witch as the thing that separates them.

SCENE 19:   EXT. – THE TOWER – DAY
(RAPUNZEL, FRANZ)

1. MUSIC: OPENING THEME – LET IT FINISH.
2. SOUND: (BACKGROUND) FOREST AMBIANCE – LET IT FINISH.
3. NARRATOR: Once upon a time, in a distant land, a girl was stolen as a baby and raised by a witch. She was never told the truth about her origin but now, after 18 years in the care of the witch, Rapunzel is beginning to ask questions and experience doubts about the life she has been forced to live…
4. RAPUNZEL: Hi Felix, killed anything interesting today?
5. SOUND: CAT’S MEOW – LET IT FINISH?
6. RAPUNZEL: See what mother left me this time? It’s a statue of a little girl… Only, I don’t think this girl was evil or deserved to be turned into a statue like this.
7. SOUND: ANOTHER MEOW – LET IT FINISH.
8. RAPUNZEL: (TO HERSELF) No, I really don’t think this little girl was evil. I think… I think maybe… it’s mother. I think maybe she’s been stealing people for my garden. I think… I think she might be lying to me…
   (TO THE CAT) Oh, Felix, I wish I’d never seen that boy running from her. I have so many questions now. So many questions that I was happier without. I think I may be a… a prisoner here. There. I said it.
9. SOUND: ANOTHER MEOW – LET IT FINISH.
10. RAPUNZEL: Oh, I know. I’m being selfish and spiteful, and letting my imagination run away with me only… only she keeps changing the topic when I ask about the statues, and I’ve caught her contradicting herself.
    That little girl is leaning down to pick flowers. Mother said she’s wicked, and that she just wanted to give me a statue in a happier pose than the last one. But… I’m sure she’s lying to me. And if she’s lying about that, what else is mother keeping from me?
11. SOUND: NONCOMITTAL MEOW – LET IT FINISH.
12. FRANZ: (IN THE DISTANCE) Hildegard? Hilde? Please answer me? Hilde, where are you?
13. RAPUNZEL: Oh, no! There’s someone out there. Mother will be here soon and I don’t know what she’ll do. (IMPLORING) Stay away! Oh, please don’t come any closer.
14. FRANZ: (GETTING CLOSER) Who? Where? A tower? I know of no tower here. And it has no doors. (CALLNG UP) Who’s there? Who are you?
15. RAPUNZEL: (GASP) A man! You must leave, quickly. It is not safe. My mother will return soon and I don’t know what she will do if she finds you.
16. FRANZ: (MYSTIFIED) Who are you? And what are you doing on Royal land?
17. RAPUNZEL: What do you mean Royal land. This is my home?
18. FRANZ: I assure you, miss, this land has been set aside for the use of my family – the Royal family. I am Prince Franz, soon to be crowned King after the death of my father Ferdinand.
19. RAPUNZEL: A prince? I don’t believe it. Quickly, state your business. My mother will be here soon.
20. FRANZ: Perhaps I should wait and speak with your mother.
21. RAPUNZEL: No. You mustn’t. She gets so angry when people come near the tower.
22. FRANZ: Who is she to be angry with a prince on his own ancestral land?
23. RAPUNZEL: You arrogant popinjay. Her name is Esmerelda and she is a powerful sorceress.
24. FRANZ: Esmerelda? Come to the balcony and let me see you.
25. RAPUNZEL: If you insist. Here I am.
26. FRANZ: Great Scott! You are radiant… and approximately the right age.
27. RAPUNZEL: Must you stare? It is making me very uncomfortable to be looked at by such a handsome man.
28. FRANZ: (EMBARASSED) Er… I’m going to hazard a guess that you haven’t seen very many men in your time, miss.
29. RAPUNZEL: (EMBARASSED) In point of fact, you are the first.
30. FRANZ: I thought as much. I would even venture that I can guess your name.
31. RAPUNZEL: Really?
32. FRANZ: Yes, would you happen to be named Rapunzel by any chance?
33. RAPUNZEL: How did you know that?
34. FRANZ: I think I know, or at least I can guess, many things about you. Are you a prisoner in that tower?
35. RAPUNZEL: I cannot come out if that is what you are asking.
36. FRANZ: Tell me about the witch. Does she treat you well?
37. RAPUNZEL: She’s my mother. She can be a bit harsh sometimes, but she means well… but what business is it of yours?
38. FRANZ: Yes, you almost distracted me. I am seeking my sister, Hildegard. She came riding into the forest yesterday and went missing. We are terribly afraid for her. She’s about twelve years of age with long golden hair. Have you seen her?
39. RAPUNZEL: Oh no, a princess! Young man…
40. FRANZ: Call me Franz. I already know your name.
41. RAPUNZEL: (SHYLY) Very well… Franz… there is a statue garden to your right. Do any of the statues bear the likeness of your sister?
42. SOUND: BRIEF FOOTSTEPS ON GRASS – LET IT FINISH.
43. FRANZ: (HORRIFIED) Good grief, it’s Hilde. What have you done?
44. RAPUNZEL: I’ve done nothing I swear.
45. NARRATOR: And Rapunzel explained to Franz her fears and suspicions concerning the statue garden. Franz in turn, let her know the circumstances of her birth and kidnapping. Both stood deeply in shock, trying to decide what to do.
46. FRANZ: I could get you out of the tower for a start.
47. RAPUNZEL: No, mother… I guess I mean Esmerelda would be enraged. If you try and confront her the result will be the same.
48. FRANZ: ..
49. RAPUNZEL: No, you don’t know her. She would sooner smash every statue in the garden than let you take from her what she believes is rightly hers.
50. FRANZ: (ANGRY) Rightly hers… You can’t be serious? That’s my sister over there, and a large number of children from the region.
51. RAPUNZEL: Keep your voice down. I never know when she’ll arrive. You need to hide or she’ll turn you into a statue as well.
52. FRANZ: .. you’re right. I need to know how to reverse the spell. I could bring my soldiers and we could try to force her by sword point.
53. SOUND: FRANZ DRAWS HIS SWORD – LET IT FINISH.
54. RAPUNZEL: Put that away and don’t be so foolish. Mother would ensure the statues were destroyed before your soldiers could draw near. The only way… is for me to convince her to tell me how the cure is affected.
55. FRANZ: I fear you are correct. Do you think you can uncover the secret of it?
56. RAPUNZEL: If it is a spell, then no. But she keeps many potions that achieve the same effects as her spells. If there is a way I will uncover it… but please, I’m afraid for you, go and hide, before she gets here.
57. FRANZ: I don’t want to leave you.
58. RAPUNZEL: What?
59. FRANZ: (COUGHS IN EMBARASSMENT) I mean, I’m concerned for your safety. Who is there to protect you?
60. RAPUNZEL: I am perfectly safe you handsome fool. Mother expects to find me here, and alone. It is only your presence that endangers things.
61. FRANZ: .. right… of course. I will return tomorrow morning and see what you have learned.
62. RAPUNZEL: Yes, come back in the morning. She is never here in the mornings. Call to me and ask me to throw down my hair to you.
63. FRANZ: What? Ask you to do what?
64. RAPUNZEL: It’s traditional. Just go with it. It will allow you to come up into the tower.
65. FRANZ: Um. Goodbye.
66. RAPUNZEL: Farewell.
67. SOUND: FOOTSTEPS RUN BACK INTO THE FOREST – LET IT FINISH.
68. RAPUNZEL: (SIGHING) Oh, my, Do you think he really was a prince, Felix? I’ve never seen anyone so handsome.
69. SOUND: CAT’S MEOW THAT SOUNDS LIKE A QUIZICAL “HUH?” – LET IT FINISH.
70. MUSIC: TIME PASSING SCENE ENDER – LET IT FINISH.

Writer’s notes

In this scene we are leading up to the reversal. Everything begins to go wrong for Rapunzel and Franz. The witch realises Rapunzel has been in communication with the outside world and her fury is immense. In a staggering over-reaction she chains Rapunzel to the wall and cuts her hair away, after getting her to confess regarding her next rendezvous with the Prince.

In this scene the central conflict plays out as follows…

Rapunzel’s goal is to find the cure to the stone statue spell.

The witch’s secrecy and mistrustful nature is the obstacle.

Disaster strikes when the witch realises Rapunzel has had contact with the outside world and catches on to the deception.

Rapunzel has never lied to the witch before. Her dilemma is whether to lie or tell the truth.

Her choice is to tell the truth.

This has disastrous consequences, fanning the witch’s jealous rage and resulting in her being chained up and having her hair cut off.

SCENE 20:    INT – THE TOWER – EARLY EVENING
(RAPUNZEL, WITCH)

71. SOUND: (WALLA) NIGHT AMBIENCE – ESTABLISH AND UNDER
72. RAPUNZEL: Oh, where is she Felix? She’s never usually this late. If the vegetable stew goes cold she’ll end up in a terrible mood and I won’t be able to get anything useful out of her. You know what she’s like. And then I won’t be able to tell the prince how to rescue his sister in the morning and… and he’s so handsome.
73. SOUND: QUESTIONING MEOW – LET IT FINISH.
74. RAPUNZEL: Of course he’s handsome. He’s a prince, after all. I’m pretty sure it would be against the rules to be anything less.
75. SOUND: UNCONVINCED MEOW – LET IT FINISH.
76. RAPUNZEL: (WHISTFUL) I wonder what he thinks of me? Oh, I’m so ugly! All willowy and thin… not like mother or the prince. And my skin is so clear. I need some warts or something.
77. SOUND: WHOOSH OF WITCH’S ARRIVAL – LET IT FINISH.
78. ESMERELDA: (OUTSIDE CALLING SWEETLY) Rapunzel, Rapunzel, let down your hair to me. (BEAT) (IMPATIENT AND ANGRY) RAPUNZEL!
79. RAPUNZEL: Coming Mother. I’ll just open the doors to the balcony so you can come up.
80. ESMERELDA: Be quick about it. I’ve had a horrible day. The forest has been full of soldiers. Fortunately, I was able to lead them the other way, but it did make it difficult to approach the tower. I’ve been flying around for hours leading them on a wild goose chase.
81. SOUND: DOOR OPENS. HAIR FALLS TO THE GROUND – LET IT FINISH.
82. ESMERELDA: Ah, your beautiful hair. So soft, so lovely. Here I come. (BRIEF GRUNTING OF TYING SOMETHING INTO THE HAIR) Mmmhmmm. Mmmm. All right. (GRUNTING OF INTENSE EXERTION FOR A FEW MOMENTS CLIMBING THE TOWER) Ugh. Urk. Argh. (ETC.)
83. RAPUNZEL: (PAINFUL EXCLAMATIONS IN TIME WITH ESMERELDA’S EXERTIONS) Aaah. Ooooh. Uuuurm. Eeeek. (ETC.)
84. RAPUNZEL: (BEAT) (GASPING) Ugh. There you are mother. (GASPS SOME MORE).
85. ESMERELDA: (OUT OF BREATH). Yes, yes. Where’s my dinner? I’m famished.
86. RAPUNZEL: On the table. I’ll gather up my hair and be right with you.
87. ESMERELDA: It’ll be heavy. I’ve tied another sack of vegetables to it at the bottom.
88. RAPUNZEL: (IRKED) Oh. Right. (BEGINS GRUNTING AS SHE PULLS HER HAIR AND VEGETABLES UP)
    (AFTER A SUITABLE TIME) I wish you wouldn’t tie the sacks into my hair with such strong knots. The tangles are always so hard to get out afterwards.
89. ESMERELDA: (EATING) Better that than losing the vegetables. Mmmm. This is delicious.
90. RAPUNZEL: Yes, cooking is something I can do well.
91. ESMERELDA: (EATING NOISES)
92. RAPUNZEL: Uh, mother?
93. ESMERELDA: (GRUNTS ACKNOWLEDGEMENT) Mmmm.
94. RAPUNZEL: Well, I wanted to ask you something. About the statues.
95. ESMERELDA: (ANGRY) The statues again! Stop fussing will you. They deserve it. Every one of them does.   With their pretty looks and their irritating smiles and their… Well, they deserve it and I don’t want to hear any more about it.
96. RAPUNZEL: But the soldiers in the forest? Could they be looking for the statues?
97. ESMERELDA: Oh, that’s what’s got you in a lather. You have no need to worry, my dear. The soldiers aren’t searching the forest for a bunch of criminals who have been turned to stone. But still, maybe I should take things easy while they are scouring our forest. I wouldn’t want anything bad to happen to you.
98. RAPUNZEL: (SOUNDING DEPRESSED) Yes, mother.
99. ESMERELDA: Oh Rapunzel, you know I only keep you shut up here away from people because of how dangerous they are. The people out there would hate you for your ugliness. Why look at you. Those freakish blue eyes. That clear, smooth skin. No warts or birth marks. You’re so thin and curvy that people couldn’t help but be repulsed. And your hair. As thick and lovely as it is to touch, it’s completely the wrong shade of gold. No, I keep you here for your own safety.
100. RAPUNZEL: Yes, mother. But is there a way to reverse the spells… if it came to it? Could it be done?
101. ESMERELDA: Of course it could be done. I even have potions for it. It’s child’s play. As you would know if you only applied yourself to your studies more.
102. RAPUNZEL: Oh, mother, I’m so glad. I wouldn’t want you to be arrested for turning the princess to…
103. ESMERELDA: The princess! (FURIOUS) How did you know she was a princess? Who have you been talking to? Who has been here?
104. RAPUNZEL: It’s true? You turned the princess to stone! That’s why the soldiers are searching the forest. She’s missing, and it was you.
105. ESMERELDA: I asked you a question, Rapunzel. Answer me. Answer me now, or, I swear, the consequences will be the most unpleasant you have ever experienced.
106. RAPUNZEL: No, mother. I didn’t mean…
107. ESMERELDA: You wicked child. You’ve been talking to someone behind my back. Who is it? Is it a man?
108. RAPUNZEL: Mother, please, don’t get angry. I didn’t mean to upset you.
109. ESMERELDA: (IN A BLIND RAGE) Who is he? Tell me now, and this needn’t get any worse.
110. RAPUNZEL: (SCARED) All right. All right, it was the prince. He came into the clearing searching for his sister.
111. ESMERELDA: And you spoke with him? You let him hear your voice?
112. RAPUNZEL: Yes, but only to…
113. ESMERELDA: Did he see you? Did he see what you looked like?
114. RAPUNZEL: Only a glimpse. He… he called me “radiant”.
115. ESMERELDA: Oh, you idiot child! He’ll be back, don’t you see? He’ll be back with horses, and cannons, and soldiers. They will tear down this tower and kill us if they can.
116. RAPUNZEL: No, mother. No they won’t. He’s afraid you’ll do something to the statues. He wanted me to ask about a cure. He’s coming back in the morning. Alone. There’s no need to…
117. ESMERELDA: And you agreed? You betrayed me! After I’ve protected you all these years… you’d do this to me…
118. SOUND: SLAP TO THE FACE – LET IT FINISH
119. RAPUNZEL: (SHOCKED) You hit me!
120. ESMERELDA: And I’ll do more than that. Come here…
121. SOUND: SCUFFLING – DUCK UNDER.
122. RAPUNZEL: Ow. My hair. Let me go. Let me…
123. SOUND: CLANKING OF CHAINS – LET IT FINISH.
124. RAPUNZEL: Be quiet girl. Chaining you up is just the beginning.
125. RAPUNZEL: No, wait. What are you going to do with those scissors?
126. ESMERELDA: What’s it look like? I’m going to shear you of those locks of yours. We’ll see how “radiant” he thinks you are when your hair is gone.
127. RAPUNZEL: No! No, leave me alone. (SCREAMS) Aaaaaah.
128. ESMERELDA: Oh, no you don’t.
129. RAPUNZEL: (GAG BEING STUFFED IN MOUTH) Mmmf. Mnnn-mmmf. Mmmmmmm!
130. SOUND : SNIPPING OF HAIR (DUCK UNDER).
131. ESMERELDA: LAUGHS MANIACALLY – (FADE UNDER) Hahahahaha.
132. RAPUNZEL: (SOBS AS HER HAIR IS CUT AWAY) No. Oh, no. Oh. Nooo.
133. MUSIC: TRAGIC SCENE ENDER – LET IT FINISH.

Writer’s Notes

This, the final scene of the second act, is the reversal. Here, all hope is lost, and it appears our protagonists have been beaten. The witch appears triumphant (in a sad and rather ambiguous way), Prince Franz is blinded and captured, and Rapunzel is exiled from the tower.

In many modern stories it is quite common to introduce a redirection after an initial rising tension. In such a case we would turn the story on its head and reveal that Rapunzel (or some other character is the antagonist, and not the witch. Perhaps we would reveal that the statue-making has all been a plan to bring the tower to the notice of outsiders and goad the emotionally stunted witch into casting Rapunzel out. In this scenario Rapunzel would be painted as an arch manipulator who blinds the prince and leaves him for dead in order to turn the populace against the witch and secure her freedom. This would then force Franz and the witch to team up in order to gain their revenge.

As this is meant to be a faithful-ish adaptation of the familiar Rapunzel story rather than a complete retelling I chose to move towards a less complicated ending via a standard reversal.

As a result this scene functions as the reversal that ends the second act, provides Franz with a moment where his commitment to responsible action is tested, tests the witch’s commitment to caring for Rapunzel, and provides a moment of truth for Rapunzel where she must now commit to action either for her prince and against the witch or the reverse. In the aftermath of the reversal of her fortunes, Rapunzel commits herself to the recognition of her mother’s cruelty and evil.

Rapunzel’s goal in this scene is to protect the prince.

The obvious obstacle to this is the fact that she is tied up.

Disaster strikes when the witch impersonates Rapunzel in order to capture the prince and, in a jealous rage blinds him.

The witch gives Rapunzel a choice. Her dilemma is whether to submit to the witch or reject her.

Rapunzel’s choice is to reject the witch utterly and lose everything as a result.

SCENE 21:    INT. THE TOWER – MORNING
(THE WITCH, RAPUNZEL, FRANZ)

134. SOUND: (WALLA) BIRD SONG – ESTABLISH AND UNDER.
135. ESMERELDA: I hate waiting. Where is this prince of yours? The sun’s been up a whole three minutes and there’s no sign of him.
136. RAPUNZEL: (THROUGH A GAG) Mmmmm. Mmm-mmmmf. Mmmmm.
137. ESMERELDA: What? Oh, the gag.
138. RAPUNZEL: (YELLING) Prince Franz, if you’re out there, don’t… Mmmmmf. Mmmm. Mmmmmm-mmmmf.
139. ESMERELDA: Oh, no. We can’t have that now, can we? It would quite spoil all my fun. I have something special in mind for this Prince Franz of yours.
140. RAPUNZEL: Mmmm-mmmf. Mmmmm. Mmmmmf.
141. FRANZ: (AT A DISTANCE) Rapunzel? Rapunzel? Are you there? (MUTTERING) Of course she’s there, idiot. Where else would she be? (BEAT) Now, how did it go? Um… Rapunzel, Rapunzel… Throw down your hair to me.
142. ESMERELDA: Oh, now really? This is almost too easy. I’ll just use what I cut off last night. (BEAT) (PRETENDING TO BE RAPUNZEL) Here you are… er… your Highness.
143. SOUND: SOUND OF HAIR FALLING – LET IT FINISH.
144. FRANZ: Rapunzel? Is that you? You sound… different…
145. ESMERELDA: I’ve woken this morning with a bit of a sore throat (COUGHS UNCONVINCINGLY). I must have left the window open last night.
     Quickly, climb up my hair.
146. FRANZ: Won’t it hurt you?
147. ESMERELDA: No, of course not. Mother does it all the time.
148. FRANZ: If you say so. (GRUNTS AS HE CLIMBS) Ugh, Ah, Urk, Argh (ETC.) (AFTER SUITABLE TIME) (PANTING FROM THE EXERTION) Yes, you were right. You didn’t so much as… Wait, you’re not Rapunzel!
149. ESMERELDA: (ANGRY) No, I’m not! (BEAT) Petrify!
150. SOUND: MAGICAL CHIMES – LET THEM FINISH.
151. ESMERELDA: Well, there’s your prince. Ugly little brute isn’t he? And he looks quite comical, stuck there with one leg over your balcony. He’ll make a fine addition to your garden, don’t you think?
152. RAPUNZEL:
153. ESMERELDA: I’m just going to take a quick peek outside. Hold on a minute. (BEAT)
     Well, well. It appears our Royal visitor actually came alone… the idiot!
     That being the case… let me fix that gag.
154. RAPUNZEL: Oh mother, how could you?
155. ESMERELDA: I did it for us dear. Do you think they would have left us alone if you had been able to tell this “prince” about the cure…
156. FRANZ: Mmmm-mmmm. Mmmmm.
157. ESMERELDA: Oh, don’t worry I haven’t forgotten you, young Prince. And yes, there is a counter spell that would release your sister and all the other fools in my garden, and I even have potions that will do it… BUT, I keep those potions in my mountain fortress and you will never have the chance to find them. I hope you like immobility you impetuous dog.
158. FRANZ: Mmmm-mmmm. Mmmmm.
159. ESMERELDA: What? Did you think I wouldn’t find out? Did you think you could sneak up to this tower and… and have your way with my little girl? A prince as ugly as you probably doesn’t get much opportunity for romance, does he?
160. RAPUNZEL: (THROUGH TEARS OF TERROR) Mother, no. It wasn’t like that.
161. ESMERELDA: Be quiet, you disobedient whelp. You’ll have the chance to apologise in a minute. (BEAT)
     (TO FRANZ) Do you know what I’m going to do to you, “Prince” Franz? I’m going to reunite you with your sister.
162. RAPUNZEL: (HOPEFUL) Really mother. Oh, I knew it, I knew you couldn’t be as bad…
163. ESMERELDA: Shut up!
164. RAPUNZEL: Yes mother.
165. ESMERELDA: (TO FRANZ) Yes, I’m going to reunite you with your sister. You may join her shortly… as another of the statues in the garden. (CACKLING LAUGH) Hahahahahahahaha.
166. RAPUNZEL: Mother, no. You can’t. I… I love him.
167. ESMERELDA: What?!?!
168. RAPUNZEL: I love him, mother. You mustn’t do this. Please…
169. ESMERELDA: (TO FRANZ) What have you done? What have you done? You’ve turned my own daughter against me. You’ve twisted her into a monster, a creature that would stab a dagger into the heart of the only one who has cared for her in her entire life.
     Did you look upon my greatest treasure and decide you would steal it away?
     Yes, you did didn’t you? With those eyes, those haughty, arrogant, royal eyes?
170. RAPUNZEL: Mother, what are you doing? Put down that knife…
171. ESMERELDA: Well, those eyes will never look upon anything so fair again. Never.
172. SOUND: A SINGLE SHARP STABBING NOISE – LET IT FINISH.
173. FRANZ: (MUFFLED AGONISED SOUND) Mmmmmmmmmmmmmmf.
174. SOUND: ANOTHER SHARP STABBING NOISE – LET IT FINISH.
175. FRANZ: (MUFFLED AGONISED SOUND) Mmmmmmmmmmmmmmf.
176. RAPUNZEL: (SCREAM OF ANGUISH) Nooo!
177. ESMERELDA: (TO RAPUNZEL) See what you’ve done through your disobedience? Do you see? For all these years I have kept you safe. Now, look what you made me do. And it doesn’t end here. This “prince”, this ugly blind creature that you think you love, this animal that has seduced you with his tongue, his punishment doesn’t end here. And neither does yours.
178. RAPUNZEL: Mother please?
179. ESMERELDA: Children must learn to obey their parents, Rapunzel. And there is only one way you are going to learn. I’m going to cast you out.
180. RAPUNZEL: But mother…
181. ESMERELDA: The world outside this tower is a terrible place, a place I have tried to protect you from, a place of horrors, full of… of… people, and worse. You are going to learn just how terrible a place it is. They will probably arrest and torture you. It is better than you deserve. And all the while I will be torturing your “prince” in my mountain fortress. And then…, when he no longer amuses me… Then, I’ll kill him. And at last, if my anger is satisfied, then I’ll return… and give you a chance to repent of this foolishness.
182. RAPUNZEL: (SOBBING) Mother! No!
183. MUSIC: TRAGIC SCENE ENDER – LET IT FINISH.
184. MUSIC: CLOSING THEME AND CREDITS – LET IT FINISH.

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Lessons

• Lesson 1 : The Science Behind Radio
• Lesson 2 : The History of Commercial Radio
• Lesson 3 : Appreciating Radio Drama
• Lesson 4 : Reading Radio Drama Scripts
• Lesson 5 : Performing Radio Drama
• Lesson 6 : Scripting Radio Drama

Worked Example (Radio Adaptation of Rapunzel)

• Appendix : Writer’s Notes on Adapting Rapunzel for Radio
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 1, Gustav the Hunter
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 2, Kidnapping
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 3, Desperate Measures
• Example Radio Play with writer’s notes) : Rapunzel for Schools
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 5, Fateful Meeting
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 6, Just Desserts

The post Rapunzel for Schools – Episode 5 – Fateful Meeting appeared first on Host Your Own Old Time Radio Drama.

EPISODE 4 – THE DARKENING FOREST

Writer’s Notes

This episode will introduce us to Franz and Rapunzel. It kicks off their character arcs, and moves us forward towards the reversal at the end of Episode 5 (the conclusion of the second act).

The opening of Episode 4 is a continuation of the scene that concluded Episode 3. In it we see Franz encounter the disaster, dilemma, and moment of choice that complete the substructure of the scene begun earlier.

Disaster occurs when Franz comes across a boy’s grandmother and learns that the cry for help he heard in the previous episode was serious. Added to this, the bells of the castle peal out announcing the death of the King.

Franz’ dilemma is whether to stay and help the boy’s grandmother in her search for her grandson, or return to the castle.

His choice is to return to the castle.

SCENE 14:    EXT. THE FOREST – AFTERNOON
(HERMANN, FRANZ, OLD WOMAN)

1. MUSIC: OPENING THEME – LET IT FINISH.
2. SOUND: (WALLA) LIGHT FOREST AMBIANCE – ESTABLISH AND UNDER
3. NARRATOR: Once upon a time, so the old tales tell, in a land far away, a baby girl was kidnapped by a witch. Her father, Gustav, obtained the King’s promise that the child would be returned. But, eighteen years later, the dying King expresses fear that his son, about to ascend the throne himself, will not be as keen to fulfil his father’s promise.
4. SOUND: TWO MEN WALKING – ESTABLISH AND FADE
5. FRANZ: We didn’t get many fish out of this trip.
6. HERMANN: (MUTTERING) No, your Highness.
7. FRANZ: Oh dear.
8. HERMANN: What?
9. FRANZ: You usually call me Franz.
10. HERMANN: So?
11. FRANZ: So, Hermann, you only use my title when we are in company or you’re angry.
12. HERMANN: (SNORTS) Hmpf.
13. FRANZ: I guess you’re used to catching a few more fish than that, then?
14. HERMANN: (ANGRILY) As a matter of fact, yes. Yes I am.
15. FRANZ: You seem a little irked.
16. HERMANN: Do I?
17. FRANZ: .. yes. Is there something you want to say, Hermann?
18. HERMANN: Well, your highness, it seems, putting it bluntly if I may, that you snore.
19. FRANZ: What?
20. HERMANN: Like a bull elephant.
21. FRANZ: I mean to say…
22. HERMANN: I don’t mind that you went to sleep. It’s a glorious day after all…
23. FRANZ: But?
24. HERMANN: But? But while asleep you were making noises that shook the earth and scared off the fish.
25. FRANZ: I see.
26. HERMANN: Do you? We’ve been friends a long time but I don’t think I ever truly realised you were capable of such a noise. (BEAT) I mean, if you’re like that at home, it’s a miracle the castle is still standing.
27. FRANZ: I think I take your meaning, Hermann.
28. HERMANN: I’ve seen bears bellow with less noise.
29. FRANZ: Yes, I think you’ve made your point.
30. HERMANN: There are rogue elephants in Africa that…
31. OLD WOMAN: (NEAR TEARS) Wilhelm! Wilhelm! Answer me, please!
32. FRANZ: (RELIEVED AT AN EXCUSE TO CHANGE THE SUBJECT) Oh, thank heavens! Madam, what is it? What distresses you so?
33. OLD WOMAN: Oh my Lord Prince, it’s you.
34. FRANZ: Yes, yes. Please get up. You’ll get all filthy grovelling in the dirt like that…
35. HERMANN: (UNDER HIS BREATH) As if she wasn’t already…
36. OLD WOMAN: Oh, my Prince. It’s my grandson. He came with me into the forest to pick mushrooms and something descended on us out of the sky. His mother and father are gone, taken by illness, and he is all I have left in the world. He ran into the woods and the shape followed. He did not come back.
37. FRANZ: Did you see what hunted him?
38. OLD WOMAN: No, your highness. It was a shadow, large and fast moving?
39. HERMANN: A giant eagle, perhaps? It is said some live in the deep forest on the edge of the mountains.
40. FRANZ: (DOUNBTFUL) Perhaps. Though few have ever come this far south. How long ago did the boy run off?
41. OLD WOMAN: (THROUGH TEARS) It was morning my Lord, an hour or so before noon.
42. FRANZ: Then the hunt is several hours old.
43. HERMANN: (REPROACHFUL) We heard a child call out about that time, do you remember?
44. FRANZ: (STERNLY) Yes, I do. Tell me, have you travelled far from where he was lost?
45. OLD WOMAN: I have been searching for some hours, sire.
46. FRANZ: A pity, it will be all the harder to pick up his trail. We’ll need to organise a search party, gather some troops from the castle.
47. OLD WOMAN: Sir, Wilhelm isn’t the first child to go missing in these woods.
48. FRANZ: What are you saying?
49. OLD WOMAN: A number of children have vanished in the past few years, and in recent months the numbers have increased. I’m so scared for him. He’s such a small boy.
50. FRANZ: But my father keeps these woods clear of predators.
51. OLD WOMAN: (SOBBING) No sire, he does not. Or leastways, there is one predator that has so far eluded your father’s men. Please. Please help find my poor Wilhelm. Please (BREAKS DOWN).
52. FRANZ: I see. Hermann, we need to…
53. SOUND: DISTANT BELLS RINGING – ESTABLISH AND UNDER.
54. FRANZ: Oh no!
55. HERMANN: Franz! You’ve turned pale.
56. FRANZ: The bells, Hermann. You know what they signal don’t you?
57. HERMANN: The King! The King is dead. We have to get you back to the castle.
58. OLD WOMAN: But my grandson. What about my grandson?
59. FRANZ: I’m sorry, I want to help you. I want to help the boy. But this will have to wait. My little sister, Hildegard, will be on her own now. I need to be up at the castle. I need to be with Hilde. I’ll send out some men to help you as soon as I can.
60. SOUND: FOOTSTEPS BEGIN RUNNING THROUGH THE BRUSH – FADE INTO DISTANCE.
61. OLD WOMAN: (SOBBING) But my grandson? Who will help save my grandson?
62. MUSIC: TRAGIC SCENE ENDER – LET IT FINISH.

Writer’s Notes

We are now introduced to Rapunzel, alone in her tower. Short of a voice over of their thoughts it is quite difficult to present a character who is alone in an audio drama. For this reason the cat was added. The cat gives Rapunzel an excuse to express her thoughts out loud.

Because the cat is quite expressive, it would probably be best for the cat to be a character voiced by an actor rather than a sound effect.

As I came to write this scene, I once again found it would be easier to split it in two. I broke the scene into two parts, one occurring from Rapunzel’s balcony, and the other taking place within.

The first part introduces Rapunzel and her character arc. She is revealed to us as someone with an implicit trust in her abusive mother (the witch). She is very sheltered, and despite wanting to experience a wider world, more than a little afraid of what lies beyond her tower. The call to change comes in the form of a boy running through the woods trying to escape the pursuit of the witch. Rapunzel resists the call, attempting to hide herself and refusing the child aid.

We also see a demonstration of the witch’s (admittedly warped) commitment to Rapunzel (advancing the witch’s character arc). She has raised her these last 18 years and loves her deeply if jealously. In her warped way, she tries to please Rapunzel, bringing her statues for her garden.

However, in her pursuit of the boy, the witch does not notice that he has entered Rapunzel’s view and turns him into a statue right in front of the girl. This event begins Rapunzel’s questioning regarding the true nature of her mother and her own past.

Rapunzel seems pretty aimless at the beginning. Her goal is to enjoy the day and break the boredom with a visit from her mother.

The obstacle is the arrival of the scared boy in the clearing below her window.

The disaster that shatters her equilibrium is witnessing her mother turn the boy into a statue for her garden.

SCENE 15:    EXT. THE TOWER – MORNING
(BOY, WITCH, RAPUNZEL)

63. SOUND: (WALLA) FOREST AMBIENCE – ESTABLISH AND UNDER
64. SOUND: CAT MEOWS – LET IT FINISH.
65. RAPUNZEL: Oh, hello Felix. Back from your travels are you? Did you find yourself some nice birds to decapitate?
66. SOUND: CAT MEOWS AGAIN – LET IT FINISH.
67. RAPUNZEL: (SIGHS) I bet you did. I bet you’ve been having all sorts of adventures while I’ve been stuck here. And I’m still bored, Felix. (SIGHS AGAIN) For a moment I thought you were mother, getting ready to call out “Rapunzel! Rapunzel! Let down your hair to me”. I do miss her when she’s not here. It’s just so dull. (SIGHS AGAIN) All day, every day, I’m stuck in this tower, surrounded by forest. At least you get to go out. I’m tired of spinning wool and silk. I’m tired of painting what I can see from the balcony. I’m even tired of looking at the statues in the garden down below… well, actually, I love the statues. I hope mother brings me a another one today, a nice one this time… the last one she brought was something of a fright. (BEAT) The expression on its face… so full of fear. Still you have to applaud the artistry. They are so life like.
68. SOUND: CAT PURRS THEN MEOWS – LET IT FINISH.
69. RAPUNZEL: Yes, yes. You want attention. (BEAT) The truth is, so do I. Mother visits every day, and she tries in her way. I guess I should be grateful. She gives me everything I ask for, I know… except the chance to walk around outside on the grass. But it’s only for an hour or so and then she leaves… and I know what she wants, but I can’t seem to give it to her.
70. SOUND: CAT MEOW’S IN A QUESTIONING WAY – LET IT FINISH.
71. RAPUNZEL: Every day it’s the same; “Rapunzel, how are your studies going?” I try, Felix, I really do, but I just don’t seem to have a talent for magic. It’s been six years since my twelfth birthday and I’m yet to manage even a simple bit of levitation magic… and she always looks so disappointed in me. She put me up here and told me I’d be free the day I mastered the spell, but it has been six whole years and I’m still no closer to getting out than when the test first started.
72. SOUND: CAT’S SYMPATHETIC MEOW – LET IT FINISH.
73. RAPUNZEL: (LAUGHS) Well, listen to me, whinging again. At least I get to enjoy some solitude. Mother says lots of people never get a moment to themselves and that I should feel privileged. She says she used to live in a house. That was before she moved to that fortress up in the mountains, and before she built this tower for me. She said she built a huge wall just to keep people out and give herself space to think. But you knew that didn’t you, you clever cat? You’ve heard me say it often enough. And mother tells me it’s all for my good. Still, I often wonder what it would be like to actually meet someone, anyone, even if it was just for a…
74. BOY: (IN THE DISTANCE GETTING CLOSER) Help, Help. Please… Please help me.
75. RAPUNZEL: What was that?
76. SOUND: STARTLED CAT’S MEOW – LET IT FINISH.
77. BOY: A tower! Hello, is someone there? Please help me!
78. RAPUNZEL: (SUDDENLY AFRAID) Who’s there. Go away. You’re not allowed to be here.
79. BOY: Please, miss. Please help me. Hide me. I’m being chased by a…
80. RAPUNZEL: You have to leave. I’m not allowed to talk to strangers.
81. BOY: But, she’ll kill me. Or turn me into something unnatural. Please…
82. SOUND: WHOOSH OF BROOMSTICK THROUGH THE AIR – LET IT FINISH.
83. ESMERELDA: (CACKLING) Ahahahahah. There you are, you filthy little brat. I’ll teach you to run from me. (BEAT) Calcify!
84. SOUND: MAGICAL CHIMES – LET IT FINISH.
85. BOY: No, I…
86. ESMERELDA: (CACKLING WITH GLEE) Ah, there we are my pretty! You will make a fine new addition for my daughter’s collection.
87. RAPUNZEL: Mother, what have you done?
88. ESMERELDA: What? Oh, Rapunzel. (LAMELY) Are you here?
89. RAPUNZEL: Mother, of course I’m here. Where else would I be? And what have you done?
90. ESMERELDA: .. I was out shopping for a new statue… for your collection… surprise!
91. RAPUNZEL: But mother, that boy? You… you… turned him to stone.
92. ESMERELDA: Oh, that? Yes, well… perhaps I’d best come up and have a chat with you… Oh, Rapunzel, dear. Let down your hair to me!
93. RAPUNZEL: Oh, mother, do I have to? You could just fly up here, you know?
94. ESMERELDA: (SOUNDING PETULANT) There’s an order to these things dear. Tradition and so on.
95. RAPUNZEL: Oh all right.
96. SOUND: SOUND OF HAIR TUMBLING TO GROUND – LET IT FINISH.
97. ESMERELDA: Ah, how lovely your golden locks feel. (BEAT) Are you ready dear?
98. RAPUNZEL: (GRITTING HER TEETH) Yes, mother.
99. ESMERELDA: ALL right, here goes. (BEAT) (GRUNTS OF CLIMBING THE TOWER).
100. RAPUNZEL: (SIMULTANEOUS WITH CLIMB) Ow. Owwww. Ugh. Ooooh. Ow.
101. MUSIC: TIME PASSING SCENE ENDER – LET IT FINISH.

Writer’s notes

The scene continues inside Rapunzel’s tower. Rapunzel is shocked at what she has witnessed but the witch explains that the child was bad and needed to be punished.

While the witch’s action of turning the boy to stone calls Rapunzel to change her assessment of her mother, she resists doing so.

Rapunzel has trusted the witch her entire life and is faced with the dilemma of choosing whether or not to believe her explanation.

Her choice, understandably, is to believe the witch… but the questions have not been resolved to her satisfaction and she does so hesitantly.

This scene also gave me the chance to demonstrate that, despite the witch’s commitment to Rapunzel, the witch remains selfish and emotionally abusive.

SCENE 16:    INT – THE TOWER – DAY
(RAPUNZEL, ESMERELDA)

102. SOUND: DOOR CLOSING – LET IT FINISH.
103. RAPUNZEL: I still don’t think I understand. You mean to tell me that all the statues used to be people.
104. ESMERELDA: That’s right dear.
105. RAPUNZEL: (HORRIFIED) But… that’s horrible.
106. ESMERELDA: Oh, don’t be so squeamish. If it makes you feel any better, they were all terrible, annoying, people who needed to be punished.
107. RAPUNZEL: (BRIGHTENING) Oh, but why didn’t you say so? If they were criminals, that makes it all right then.
108. ESMERELDA: Well, if I thought it mattered I would have told you.
109. RAPUNZEL: So, is it like a public service you perform?
110. ESMERELDA: What’s that?
111. RAPUNZEL: You know, mother, helping people by punishing criminals?
112. ESMERELDA: (SOUNDING SHIFTY) Oh, yes… Yes, of course… helping people…
113. RAPUNZEL: So, what were their crimes?
114. ESMERELDA: Um… Oh, you know…
115. RAPUNZEL: No, but I’d like to. I like to know about the things you do to help people… but I don’t think I want any more statues for the garden.
116. ESMERELDA: Oh, now don’t be silly dear. Of course you do.
117. RAPUNZEL: The thought that they were once people, even really bad people… well, it’s a little frightening.
118. ESMERELDA: Oh, you’ll get used to it. Besides I’ve picked another one out for you. A pretty little thing that I think you’ll be very happy with.
119. RAPUNZEL: Oh, what did she do?
120. ESMERELDA: Pardon?
121. RAPUNZEL: Why does she need to be punished? Did she murder someone? Or burn down her parent’s home? Or, or?
122. ESMERELDA: Oh, such an imagination! Suffice to say she’s a horrible little child who is a complete waste of oxygen.
123. RAPUNZEL: But mother?
124. ESMERELDA: No, not another word. I want to know how your studies are coming along.
125. RAPUNZEL: Well, I’m still stuck in the tower, as you can see.
126. ESMERELDA: Don’t be impertinent! (BEAT) Oh Rapunzel, it’s such a simple spell. How are you ever going to complete your apprenticeship if you can’t even master a simple levitation spell?
127. RAPUNZEL: (TEARING UP) I’m sorry mother, I try, I really do.
128. ESMERELDA: (SUDDENLY ANGRY) I don’t believe you. I think you are a spiteful, ungrateful daughter who doesn’t care about the feelings of your mother. Didn’t I raise you? Didn’t I feed you? Haven’t I given you everything you have? And this is the thanks I get. You are a wicked, wicked child. I should leave you locked up here on your own and not come to visit you for a week. A week, I say.
129. RAPUNZEL: (CRYING PROPERLY NOW) No, mother, no! You know I’m trying. I’ll try harder, I promise. You’ll see. I’ll figure the spell out. Please don’t lock me up again. I go crazy with no-one to talk to.
130. ESMERELDA: (SOFTENING AGAIN) Oh, my poor Rapunzel. What am I going to do with you? You know that I’m only hard on you because I love you?
131. RAPUNZEL: Yes mother, I know.
132. ESMERELDA: And I only punish you because you deserve it?
133. RAPUNZEL: Yes mother.
134. ESMERELDA: Ah well, if only you weren’t such a disappointment. Still, it’s getting late. Maybe, next time?
135. RAPUNZEL: Yes, mother. I’ll try harder, I promise.
136. ESMERELDA: I’ll let myself out, dear.
137. RAPUNZEL: Must you go, mother?
138. ESMERELDA: Yes, I must. I’ll be back tomorrow, though. See that you save me some of that broth.
139. RAPUNZEL: Yes, mother.
140. SOUND: DOOR OPENS AND CLOSES – LET IT FINISH.
141. SOUND: WHOOSH OF WITCH FLYING AWAY – LET IT FINISH.
142. SOUND: CAT’S MEOW – LET IT FINISH.
143. RAPUNZEL: Oh, Felix, there you are? You really, don’t like it when mother comes to visit do you?
144. SOUND: CAT’S MEOW – LET IT FINISH.
145. RAPUNZEL: (MUSING) I wonder what the boy did that was so bad? He looked so scared, Felix. And he had a pleasant sort of face. (STERNLY) But mother said he needed to be punished so I guess he must have done something fairly awful…
146. SOUND: DOUBTFUL CAT’S MEOW – LET IT FINISH.
147. RAPUNZEL: Oh, it must have been something terrible, Felix? (BEAT) Mustn’t it?
148. MUSIC: NEUTRAL SCENE ENDER – LET IT FINISH.

Writer’s notes

In this scene we return our attention to Franz. The aim was to give Franz a reason to attend to his responsibilities, a point of commitment, where he chooses to take action rather than avoid decisions.

He is once more trying to goof off. He has found a way to delay his coronation and is keen to go fishing but his friend Hermann is concerned that the number of children who have vanished in the forest can’t be accounted for as the natural result of accident. Franz listens and decides he will have to do something after all.

So, once again Franz’ goal is to goof off.

This time the obstacle is Hermann and then the Herald sent by the chamberlain to find him. Unlike last time, Franz doesn’t hide.

Disaster strikes in the form of news telling him that his sister has not been seen since the previous day.

Franz’ dilemma is that he must choose whether to return to the castle and loose time organising the search or set out on his own while sending Hermann to organise the search on his behalf.

His choice is to set out on his own.

In abandoning his fun and setting out in search of his sister Franz reaches the commitment point of his character arc.

SCENE 17:   EXT – THE FOREST – MORNING
(HERMANN, FRANZ, HERALD)

149. SOUND: (WALLA) FOREST AMBIENCE – ESTABLISH AND UNDER
150. HERMANN: (EXASPERATED) Franz, the coronation is only days away.
151. FRANZ: I know. I wish I could’ve convinced the Chamberlain to make it even more lavish so it would take even longer to organise.
152. HERMANN: This is childish, Franz. You have responsibilities now.
153. FRANZ: And I’m fulfilling them. I promised to continue the search for that Rapunzel girl and here I am. (BEAT) Searching.
154. HERMANN: With a fishing pole?
155. FRANZ: It was just lying beside a tree. I couldn’t just leave it here. Someone might come along and steal it.
156. HERMANN: It’s your fishing pole, Franz. I can see the royal insignia on it. Now, as your friend, I applaud your inventiveness… but as one of your subjects…
157. FRANZ: Yes?
158. HERMANN: Well, I had hoped you would step up to your responsibilities a little more once you became King.
159. FRANZ: And after the coronation I will. You are beginning to sound like Father, and not a little like my sister.
160. HERMANN: And how is Hilde?
161. FRANZ: She’s coping well. She cried a great deal at the funeral, but I have been there for her as much as I can. She is behaving as a princess should.
162. HERMANN: While you behave like a…
163. FRANZ: Stop it. I’m beginning to regret having asked for your company on this outing.
164. HERMANN: Then listen to me, please. I’ve been trying to raise this issue with you since we set out. Stop trying to avoid the topic, hear me out, and I’ll let it rest.
165. FRANZ: Is that a promise?
166. HERMANN: (SIGHS) Yes, it’s a promise.
167. FRANZ: All right, get it off your chest… but after that I expect you to turn on the cheer. It’s too beautiful a day to hang on to gloomy thoughts.
168. HERMANN: All right. I’ll come straight to the point. It’s about that boy who went missing the day your father died.
169. FRANZ: (IMPATIENT) Yes?
170. HERMANN: They didn’t find him.
171. FRANZ: (DEFENSIVELY) I know that. I was the one who sent out the search party remember?
172. HERMANN: Yes, I do. But I did some asking around. The old woman wasn’t exaggerating. There have been a lot of children go missing in these woods.
173. FRANZ: So? I mean, it’s awful, but accidents happen. There are trees to fall out of, streams to drown in, etc. And the forest itself is large enough to get lost in. It’s not so unusual.
174. HERMANN: But that’s my point. Even taking into account the loss to accident or injury, there have been far too many children go missing for this to be anything but unusual.
175. FRANZ: How many children are we talking about?
176. HERMANN: Twelve in the last three months.
177. FRANZ: (SHOCKED) But that can’t be right! That’s more or less one child a week.
178. HERMANN: That’s what I’m trying to tell you. Something bad is happening Franz. It’s happening right now. And it’s happening in your Kingdom, in your own forest. This is your responsibility now, it is your duty to do something.
179. FRANZ: But what can I do about it?
180. HERMANN: Oh, for goodness sake. You are the King… almost. If you wanted to, you could have every inch of this forest searched for whatever is hunting these children. Pass a royal decree or something. You didn’t have any trouble getting the coronation put off for a few weeks.
181. FRANZ: All right. If it will satisfy you, I’ll get something happening on the matter as soon as we get back to the castle…
182. HERMANN:
183. FRANZ: But in the mean-time, come and help me enjoy the sunshine. I’ve found a little fishing spot that I’m sure you’ll enjoy. And I promise to stay awake this time.
184. HERALD: (AT A DISTANCE) Your majesty! Your majesty! I have urgent news from the palace.
185. FRANZ: (GROANS) Oh no. What is it now?
186. HERMANN: (LAUGHING) The Chamberlain won’t let you out of his sight for a minute, will he?
187. FRANZ: No, and if I try to hide, he’ll have the whole palace guard out scouring the countryside for me.
188. HERMANN: And it wouldn’t do for his highness to be found somewhere hiding in a tree, now would it?
189. FRANZ: (DEFEATED) No, it would not.
190. HERALD: (CLOSER) Your majesty?
191. FRANZ: Over here. What is it you squawking despoiler of sunny mornings?
192. HERALD: (ARRIVING AND PANTING) A thousand pardons your majesty. I’m so glad I found you. I bring urgent news from the palace.
193. FRANZ: All right, man. Recover your breath. What’s so important this time? Has the Chamberlain changed his mind about the color of the drapery to be used at the coronation?
194. HERALD: No your majesty. It is your sister. She is missing.
195. FRANZ: What?
196. HERALD: She went into the forest for a ride yesterday and did not return.
197. FRANZ: What of her guard? Where are they?
198. HERALD: She convinced the head of the palace guard that her personal guard would be with her and convinced her personal guard that she was riding under the protection of the palace guard. Her absence wasn’t noted until this morning.
199. HERMANN: She learned that trick from you Franz.
200. FRANZ: And what is being done, quick tell me?
201. HERALD: At the moment the castle is being searched in case she returned safely and has merely been staying in seclusion.
202. FRANZ: Hermann, get back to the castle and take charge of the search. Call together the guard, palace, personal, all of them, and send them to that glade about a mile into the woods, the one that lies north of the old apple cart track. That’s where she would usually take her ride.
203. HERMANN: And what about you, your majesty?
204. FRANZ: (TO THE HERALD) Give me your sword.
205. HERALD: Yes, sire.
206. SOUND: JINGLING OF SWORD HARNESS BEING STRAPPED ON – DUCK UNDER.
207. FRANZ: I’ll make my way through the forest and meet them there.
208. HERMANN: Sire, is that wise?
209. FRANZ: Don’t argue with me. Consider it a command. Just get the guard to meet me there. Hurry.
210. HERMANN AND THE HERALD: Yes your majesty.
211. SOUND: FEET RUNNING IN DIFFERENT DIRECTIONS – FADE OUT.
212. MUSIC: URGENT SCENE ENDER – LET IT FINISH.

Writer’s notes

I wrote this final short scene because I felt the need to increase the sense of jeopardy leading into the next episode. The scene helps reinforce Franz’ emotional state. My hope is that the audience will identify with him enough, despite his character flaws, to continue listening for the outcome.

One of the tricky parts of writing drama is to create a character who is flawed enough to develop but not so unpleasant as to be off-putting to the audience. Franz is irresponsible, yes, but ultimately, to be a successful protagonist, he must be someone the audience can identify and empathise with.

I needed to be rid of Hermann for this scene, but it did leave Franz with no-one but himself to talk to. It’s a little artificial but I think it achieves what it was supposed to.

SCENE 18:    EXT. – THE FOREST – DAY
(FRANZ)

213. SOUND: CRASHING THROUGH UNDERBRUSH – LET IT FINISH.
214. FRANZ: (PANTING) This is the spot. This is where she would have left the mare… There! Some tracks! I can see them disappearing into the underbrush… but it doesn’t look like she’s directing the animal. It appears to be wandering and grazing. Did she fall off? Did she stop and leave the horse?
     Yes, there. She got off the horse. It looks like she crouched to pick some flowers… but this doesn’t make sense. The grass is flattened as if she was weighed down heavily… and then… nothing. No other tracks, no sign that she got back on the horse. I don’t understand.
     Hildegard? Hildegard? Can you hear me? Hilde?
215. MUSIC: SUSPENSEFUL SCENE ENDER – LET IT FINISH.
216. MUSIC: CLOSING THEME AND CREDITS – LET IT FINISH.

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Lessons

• Lesson 1 : The Science Behind Radio
• Lesson 2 : The History of Commercial Radio
• Lesson 3 : Appreciating Radio Drama
• Lesson 4 : Reading Radio Drama Scripts
• Lesson 5 : Performing Radio Drama
• Lesson 6 : Scripting Radio Drama

Worked Example (Radio Adaptation of Rapunzel)

• Appendix : Writer’s Notes on Adapting Rapunzel for Radio
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 1, Gustav the Hunter
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 2, Kidnapping
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 3, Desperate Measures
• Example Radio Play with writer’s notes) : Rapunzel for Schools
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 5, Fateful Meeting
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 6, Just Desserts

The post Rapunzel for Schools – Episode 4 – The Darkening Forest appeared first on Host Your Own Old Time Radio Drama.

EPISODE 3 –      DESPERATE MEASURES

Writer’s Notes

The raising of the stakes continues (even as we move towards the point of no-return) as obstacle after obstacle is raised.

Gustav’s goal in this scene is to break into the King’s chambers and see the King. In order to do this he must break into the castle without being caught by the guards. The guards, of course, are a formidable obstacle. Disaster strikes early in this scene. Gustav is intercepted by a guard almost immediately on climbing through the castle window. His dilemma relates to whether to fight, flee, of simply yell his head off to wake the royal family and hope he can still get a hearing. His choice is to yell.

While drama depends on a protagonist being faced with a continuous string of obstacles, it is not necessary to make every scene end in failure for the protagonist. A remorselessly successful protagonist is boring, but it doesn’t hurt to let your protagonists occasionally succeed (if only to pull the rug out from under them shortly afterwards).

In this scene, the wise King, drawn out from his chambers in the middle of the night by the noise, chooses to give Gustav a hearing and is won over to helping Gustav reclaim his baby from the witch. Of course, this success will be undermined in the very next scene – but it does provide a moment of relief in the otherwise unrelenting tragedy of the story thus far.

SCENE 10:    INT – THE CASTLE HALLS – NIGHT
(GUSTAV, GUARD, KING, NARRATOR)

1. MUSIC: OPENING THEME – LET IT FINISH.
2. SOUND: (WALLA) GUTTERING TORCHES, OCCASIONAL OWL IN DISTANCE – ESTABLISH AND UNDER
3. NARRATOR: Once upon a time in a faraway land, or so the story goes, during a time of hunger and hardship a hunter named Gustav was tricked into paying for trespassing in a witch’s garden by giving up his newborn daughter, Rapunzel. His wife, Gertrude died from the grief of it and Gustav, desperate for the dispute to come to the notice of the King, has decided to break into the King’s chambers in dead of night…
4. GUSTAV: (GRUNTING) If I can just… make the… window… ledge. (BEAT) Ah. I’m here. (PANTING) Now to find the King’s chambers… and avoid the guards.
5. CASTLE GUARD: Oh, I think that boat may have sailed, don’t you?
6. GUSTAV: Argh! You scared me!
7. CASTLE GUARD: Well, that’s likely not the worst that’ll happen to you this night. (BEAT) Right, c’mon you!
8. GUSTAV: Wait, what are you doing?
9. CASTLE GUARD: I’m arresting you of course.
10. GUSTAV: You are? Brilliant! Why didn’t I think of this before. The King acts as judge doesn’t he? Then, lead on. Take me before the King, my good man!
11. CASTLE GUARD: (INCREDULOUS) Take you before the King? (BEAT) You’ve just been nabbed red-handed not ten feet from the King’s chambers. There won’t be any trial for you. It’ll be straight to the dungeon and then the headsman’s block. Now come on.
12. GUSTAV: (Wailing) No. No. I have to see the King. I have to seek his aid.
13. CASTLE GUARD: Come off it. What do you take me for? You’re probably an assassin from some nearby Kingdom.
14. GUSTAV: Do I look like an assassin to you? I haven’t even got a weapon… and I’ve got a gammy leg. It’ll hold my weight and let me climb, but I can’t run on it or anything.
15. CASTLE GUARD: Well, you don’t look like much of an assassin, I’ll grant you. But then I’ve heard assassins look just like everybody else. Maybe you’re just incompetent, eh? Have you thought about that? And besides I’ve found you just where I always expected an assassin to be.
16. GUSTAV: What?
17. CASTLE GUARD: I’ve been saying it for years. The most likely point of entry for any would-be assassin was that there window you came through. The other guards laughed at me. But I knew it provided the easiest approach and I’ve stood by this window night after night for years.
18. GUSTAV: You’ve stood by this exact window for years because you felt it was the one most likely to be used by an intruder?
19. CASTLE GUARD: (PROUDLY) I have. And look what it’s netted me?
20. GUSTAV: Of all the luck.
21. CASTLE GUARD: What do you mean?
22. GUSTAV: I only picked that window at random.
23. CASTLE GUARD: You what?
24. GUSTAV: I only picked that window at random.
25. CASTLE GUARD: (DISTRESSED) I don’t believe you. (BEAT) You’re just saying that to mess with me and throw me off my game. I can see right through your type. And none of this “I picked a random window” stuff when we get down to the guardhouse… and keep your voice down, the royal family are sleeping.
26. GUSTAV: So, what are my choices here? Come with you quietly and face the headsman’s block…
27. CASTLE GUARD: (EAGERLY) Or (my personal preference) resist arrest and let me beat you up a little before taking you to face the headsman’s block – only do it quietly, eh? So as not to disturb the King.
28. GUSTAV: You know, I actually just thought of a third option.
29. CASTLE GUARD: Yeah, what’s that?
30. GUSTAV: (CONSPIRATORIALLY) Well you know how you said the Kings chambers are less than ten feet away?
31. CASTLE GUARD: (EQUALLY CONSPIRATORIAL) Yes?
32. GUSTAV: And you want me to keep my voice down (like this) so I don’t wake up the Royal family?
33. CASTLE GUARD: Yes?
34. GUSTAV: Then it seems to me, that if I want to gain an audience with the King…
35. CASTLE GUARD: Yes?
36. GUSTAV: (YELLING) I should shout my head off!
37. CASTLE GUARD: No! Shhhhh!
38. SOUND: SOUNDS OF SCUFFLING – UNDER
39. GUSTAV: (YELLING) Your majesty! Wake up! Wake up, your majesty! (URK) Alarm! Alarm!
40. CASTLE GUARD: (SIMULTANEOUS WITH 516 ABOVE) No. Shut up! Will you shut up! I’m… going… to have to… hurt… you… if you don’t.
41. SOUND: DOOR CREAKS OPEN – LET IT FINISH.
42. KING: What is the meaning of this racket?
43. GUSTAV: Your majesty, I must speak with you. It is desperately urgent!
44. CASTLE GUARD: Your majesty, don’t listen to him. I just caught him climbing in the window to assassinate you.
45. KING: Through that window, eh? After all these years, you finally caught someone. Well done, you.
46. CASTLE GUARD: (PROUDLY) Thank you sire.
47. GUSTAV: Please your majesty. I’m no assassin. And I didn’t come here to steal. I just want to speak with you. My daughter has been taken…
48. KING: (SHARPLY) Does the man have any weapons?
49. CASTLE GUARD: Er, no sire.
50. KING: Any sacks for carrying loot? Lockpicks and such?
51. CASTLE GUARD: No sire. He doesn’t even have a rope for climbing the outer wall.
52. KING: Really? No rope? You must be a genuinely desperate fellow… or particularly stupid.
53. GUSTAV: Yes, your highness. I mean, no your highness. I mean…
54. KING: Yes, yes all right. You’ve woken me up now so I may as well hear your story.
55. CASTLE GUARD: But sire?
56. KING: Calm yourself, Falchion. It’s clear that his man is no threat.
57. GUSTAV: Falchion?
58. CASTLE GUARD: (APOLOGETIC) My mother thought it sounded tough. She wanted me to become a guard from the day I was born.
59. KING: (IMPATIENT) Come, come. Let’s hear it. I may not look at my most dignified standing here in my carpet slippers, but I’m still the King and it wouldn’t do to waste my time.
60. GUSTAV: Yes, your highness. It’s like this, my name is Gustav, a hunter living on the edge of the Old Forest and…
61. NARRATOR: And Gustav told the story of how he had sought to borrow some vegetables and how this had led to his daughter being stolen and the death of his wife. The King was shocked…
62. KING: And she really asked you to marry her beside your wife’s grave?
63. GUSTAV: Yes sir.
64. KING: I believe you.
65. GUSTAV AND THE CASTLE GUARD: You do?
66. KING: Gustav, in many ways you have been a complete fool.
67. GUSTAV: (DEJECTED) Oh.
68. KING: But you are an honest fool. You have told me the whole story, even though much of it does not reflect very well on you. You admit to trespassing on your neighbour’s land and also to the foolish decisions you have made thus far. I can find no lie in what you have said.
69. GUSTAV: (HOPEFUL ONCE MORE) Does this mean that you’ll…
70. KING: The punishment that you have suffered at the witch’s hands has been disproportionate to any crime you may have committed. In fact I am horrified at the miscarriage of justice that has occurred here. I will help you. In fact, I swear here and now upon my family honour that your daughter will be returned to your care.
    (TO THE CASTLE GUARD) Falchion, give this man a place to rest in the stables while we gather my personal guard.
71. CASTLE GUARD: Yes sire.
72. KING: And while you’re at it. Wake up the Chamberlain. He can see me off. It’s the least he can do for allowing his snobbery and playing-of-politics to result in my being woken in the middle of the night.
73. MUSIC: TRIUMPHANT SCENE ENDER – LET IT FINISH.

Writer’s Notes

Whether you conceive of these scenes as a continuation of the initial raising of the stakes or as the development of the rising tension of the story, the obstacles continue to mount.

In this scene the goal is to arrest the witch. The main actor is the King, while Gustav remains, for the most part, a spectator in the action. To give Gustav a stake in the outcome of the scene (beyond the question of whether the baby will be recovered or not) I chose to have the King express some doubt over Gustav’s truthfulness and drop some dark hints regarding what will happen if the situation is found to have all been a hoax.

The main obstacle in the scene (since the witch herself has already departed) is the wall around the property and the animated statues within). These are taken care of with cannon fire.

Disaster strikes when it is discovered that the witch has already departed with the child.

The King’s dilemma is circumscribed by his hasty promise to recover Gustav’s daughter. Will he keep his promise and keep up the search, or abandon it having confirmed that the witch has escaped?

The King’s choice is to honour his promise.

Here we see the beginnings of the demonstration of the change that has occurred in Gustav’s character. He will not be swayed and wants to hold the King to his promise.

As the scene concludes a fruitless eighteen years of searching go by.

SCENE 11:    EXT – THE WITCH’S HOUSE – DAY
(SOLDIER #1, SOLDIER #2, OFFICER, HERALD, KING, GUSTAV)

74. SOUND: (WALLA) DAYTIME OUTDOOR AMBIANCE, BIRDS, BREEZE, ETC – ESTABLISH AND UNDER.
75. SOUND: HORSES, BRIDLES ETC. FOR KING’S COMPANY – ESTABLISH AND UNDER.
76. OFFICER: Sire, I believe that is the house. Shall I call forth the herald?
77. KING: Very good, make the announcement.
78. HERALD: Be it known that His Majesty Ferdinand, King of this land has come forth on entreaty of one of his subjects to right a grievous wrong. The occupant of yonder house is hereby ordered to present herself before the King.
79. HERALD: (AFTER A LONG PAUSE) There is no response your majesty.
80. KING: Sir Knight?
81. OFFICER: Sire?
82. KING: Am I correct in noting there are no gates in the wall?
83. OFFICER: Why, yes sire. There are no gates, only a high wall all around.
84. KING: You have my leave to use the cannon to breach the wall.
85. OFFICER: Yes, sire. (BEAT) You men, bring the cannon forward.
86. SOUND: CANNON RUMBLES FORWARD.
87. KING: You may fire when ready.
88. OFFICER: Take it to within a few dozen yards of the wall. (PAUSE) Ready. (PAUSE) Fire!
89. SOUND: CANNON BOOM, CRUMBLE OF WALL – LET IT FINISH.
90. OFFICER: The smoke’s clearing, Sire. Yes, the wall is breached.
91. SOUND: HUZZAH OF SOLDIERS PRESENT – LET IT FINISH.
92. KING: Yes, yes. Very well done, Sir Knight. Before you enter, I must just check something. Gustav?
93. GUSTAV: Yes your majesty?
94. KING: We did just blow a hole in the wall of the right house, didn’t we?
95. GUSTAV: Oh, yes, your majesty.
96. KING: Oh good, only I suddenly had that feeling you get sometimes. You know the one? Where you feel like you really should have checked your facts before giving an order.
97. GUSTAV: Then let me put your mind at rest your majesty. That’s definitely the Witch’s house.
98. KING: Good. Because if this turns out to be a wild goose chase… well, mountains will have been reduced to rubble by the wind before you ever see anything other than the roof of my dungeon over your head again. Understand?
99. GUSTAV: (GULPS) Er, yes your Majesty.
100. KING: Now, before I give any further orders. Those statues we can see inside the walls. Were they the ones that left you crippled?
101. GUSTAV: Yes, your majesty, that’s them.
102. KING: (DUBIOUS) They don’t appear to be moving at the moment.
103. GUSTAV: No, your majesty. They only come to life when someone trespasses inside the grounds.
104. KING: I thought as much. You know, I’ve never actually seen a statue move.
105. GUSTAV: (FERVENTLY) I hope I never see it again.
106. KING: (REGRETFUL) Yes, I guess you’re right. It wouldn’t do to send someone in there just to see what happens… even if it would help to reassure me concerning the truth of your situation. (BEAT) Sir Knight?
107. OFFICER: Sire?
108. KING: Train the cannon on those statues for me, there’s a good chap.
109. OFFICER: Yes, sire. (BEAT) All right you lads, shift that cannon to where it can do for those two statues. (BEAT) Ready. (BEAT) Don’t embarrass us now. The King is watching. (BEAT) Aim. (BEAT) That’s it, a little to the left. (BEAT) Fire!
110. SOUND: BOOM OF CANNON FOLLOWED BY SMASHING CROCKERY SOUND.
111. KING: Oh, good show. That was a jolly good shot. I like nothing better than a bit of good, cannon marksmanship.
112. OFFICER: Thank you sire.
113. KING: Oh, look, they’re lining up the other one.
114. OFFICER: Yes Sire. (BEAT) Steady. (BEAT) Aim. (BEAT) Fire!
115. SOUND: BOOM OF CANNON FOLLOWED BY SMASHING CROCKERY SOUND.
116. KING: (CLAPPING LIKE A CHILD) Oh marvellous, marvellous. I do like a good piece of artillery, don’t you Gustav?
117. GUSTAV: Your majesty, I am happy simply to know those monsters have been dealt with.
118. KING: (SOBERING) All right Sir Knight, this is where things get dangerous. We don’t know how powerful she is, so be careful. Send in your men to drag her out. Be sure she is gagged and tied so she cannot speak her spells. And bring the infant out… carefully.
119. OFFICER: Yes, sire. At once. (BEAT) All right you motley lot, advance upon the house and drag that old biddy out. Quick march!
120. SOUND: TROOPS MARCHING AWAY – FADE OUT.
121. KING: Now we wait.
122. GUSTAV: They just kicked in her door. She won’t like that.
123. KING: It’ll be alright Gustav. We’ll have your daughter back in your arms shortly… assuming you’ve been telling us the truth.
124. SOLDIER #1: (CALLING AT A DISTANCE) We’ve checked the ground floor. There’s no one here.
125. KING: Oh, dear. This doesn’t look very good, does it?
126. SOLDIER #2: (CALLING FROM UPSTAIRS) There’s no-one on the upper floor either. It looks like she’s scarpered. There’s evidence there was a child here though. And a note.
127. OFFICER: Sire, it appears…
128. KING: Yes, yes. I heard. Have them bring me the note. (SIGH) I’m sorry Gustav, I’d hoped this situation could be resolved quickly. Before I arrest you, I’ll have a little look at this note.
129. SOUND: RUNNING FEET APPROACHING – LET IT FINISH.
130. SOLDIER #1: (PUFFING WITH EXERTION) Your majesty (PANTS) Here is the note.
131. SOUND: PAPER BEING UNFOLDED – LET IT FINISH.
132. KING: Dear Gustav. (BEAT) That would be you. (BEAT) I received word this evening, via the crows who watch the road for me, that you were travelling this way in the company of the King (that’s me) and his men (that’s them). Rather than get into a nasty little snit with Royalty, I’ve chosen to take your daughter and leave. If you’d behaved, I might at least have let you see the girl from time to time. As it is I’ll make sure you never find either of us and… that you will never see her again.
     Yours, etc.
     Esmerelda
133. GUSTAV: (MAKES A CHOKING SOB)
134. KING: Easy Gustav. I guess that confirms your story. I won’t be putting you in jail. I gave you my word we’d get your daughter back and get her back we will. I have sworn it on my family honour. The Witch has not been gone long and she could not have gone far. We will find your daughter and return her to you yet. You’ll see. In the mean-time, what will you do?
135. GUSTAV: (GATHERING HIMSELF) I won’t give up. I’ll keep searching for a way to get her back. She is all I have to live for. And…
136. KING: Yes?
137. GUSTAV: …I will hold you to your promise, your majesty. Please do all that is within your power to help me.
138. KING: Don’t worry Gustav. Have I not promised my aid. We will find her.
139. NARRATOR: Only the King didn’t find her and eighteen long years of searching went by. The food shortages became a memory and prosperity returned and, all the while true to his word, year after year the King put the resources of the castle to use attempting to track down Esmerelda and Rapunzel – to no avail. But Gustav refused to give up hope.

Writer’s Notes

While episode three of the telling of this tale has one more scene after this one (intended to whet the appetite for Rapunzel’s tale proper), we are now approaching the conclusion of Gustav’s character arc – we will not see him again until the final scene of the story in Episode 6 – and the narrative mid-point of the story (the actual point of no return that the story has been building towards in which the last of Gustav’s allies is lost to him, leaving him with only himself to rely upon).

It is 18 years later and the King is dying. During all this time Gustav has not given up hope. But the King has pledged his family honour to the task and fears his son will violate the promise. Rather than face disgrace he summons Gustav and begs to be released from his promise.

In this scene, Gustav’s goal, as always, is to the recover his missing daughter. In particular, his aim is retain the aid of the Royal family.

The obstacle is the King’s belief that his son will not honour the promise.

The disaster is, of course, the King’s illness and impending death, but this is exacerbated by the suggestion that the new King will threaten and perhaps imprison Gustav rather than fulfil the promise made by his father.

The dilemma for Gustav is to decide whether to grant the King his dying wish and release him from his promise, or hold the family to the promise come what may.

Gustav demonstrates that he is no longer the wavering man he once was. He is determined that everything that can be done to find his daughter must be done, even after all these years. His choice is to hold the King to his promise regardless of the consequences.

The death of the King forms the midpoint of the narrative by presenting Gustav with the loss of the last of his allies.

SCENE 12:    (INT) THE KING’S DEATHBED – DAY
(KING, MAID, DOCTOR, GUARD, GUSTAV, SERVANTS)

140. SOUND: (WALLA) DISTANT BIRDS ETC – ESTABLISH AND UNDER.
141. KING: (VERY FEEBLE) Who’s that?
142. MAID: Just me, your majesty. One of the maids.
143. KING: Thank you for opening the window my dear, it’s lovely to hear the birds.
144. MAID: Your welcome your majesty. It’s an honour serving you today.
145. KING: Doctor!
146. DOCTOR: Yes, I’m here your majesty. Don’t strain yourself.
147. KING: Oh stop it. We both know I’m dying. I think we’re past worrying about strain, now, don’t you.
148. DOCTOR: As you say, your majesty.
149. KING: Is he here yet?
150. DOCTOR: Your son?
151. KING: (ANNOYED) No. Not the dratted boy. I’d rather spare him having to watch me go. (BEAT) No, I mean the hunter, Gustav.
152. DOCTOR: He waits without sire, but?
153. KING: Oh for goodness sake man, I have no time. Send him in.
154. DOCTOR: Yes, your majesty. (BEAT) Steward, bring in the hunter.
155. SOUND: DOOR CREAKS OPEN – FOOTSTEPS APPROACH.
156. CASTLE GUARD: Here he is sire.
157. KING: Gustav, is that you?
158. GUSTAV: Er, yes your majesty, it’s me.
159. KING: Gustav, I’m so sorry. I’m sorry I never found (COUGHS) your daughter. I’m sorry that after all these years…
160. GUSTAV: Please, your majesty, don’t tax your strength.
161. KING: I’ve failed Gustav. (COUGHING) I’m so sorry.
162. GUSTAV: I know you have tried your majesty… as I have. I know you have held firm to your promise.
163. KING: True, Gustav, true. But now I must beg you a favour.
164. GUSTAV: Your majesty?
165. KING: My son, Gustav. My son is a fool.
166. GUSTAV: (SHOCKED) Your majesty!!
167. KING: I’m too near death for hypocricy, Gustav. I have raised a spoiled, lazy brat.
168. GUSTAV: But your majesty…
169. KING: It’s my own fault of course. After his mother died I doted on him. Gave him everything he asked for… but now…
170. GUSTAV: Yes, your majesty…
171. KING: Now, I must ask you… no, beg you… please, Gustav, release me from my promise.
172. GUSTAV: But your majesty…
173. KING: I cannot trust my son to honour it. He is spoiled and wilful. If he does not honour my promise, the promise I swore upon my family name, my line will be dishonoured. (BEAT)
     Please, Gustav, please. Release me from my oath.
174. GUSTAV: (FEELING THE TORMENT) I cannot do it, your majesty.
175. SERVANTS:
176. GUSTAV: Please, do not ask me to. It is all that has kept me alive through these many years of sorrow. Ask anything else.
177. KING: (SADLY) Ah,Gustav, I did but hope. (BEAT)
     He may threaten you, you know? He may even have you jailed if you try to claim your rights.
178. GUSTAV: I know.
179. KING: And you still won’t release me from the promise?
180. GUSTAV: (SADLY) No. I must go on searching, though no-one remains my ally.
181. KING: So be it. I die, knowing the honour of my house is likely to be stained.
182. GUSTAV: Your majesty…
183. KING: It’s all right Gustav. I am old and weak. My son is a wastrel… and ugly to boot. I know it and so do my advisors. If it had not been this issue, it would have been another. Farewell…. (EXHALES HEAVILY)
184. DOCTOR: (SILENCE FOR A TIME) The King is dead. Long live the King.
185. CASTLE GUARD: King Ferdinand is dead, ring the bells, send for our new King. Franz succeeds to the throne.
186. SOUND: BELLS RING OUT – ESTABLISH AND FADE.
187. MUSIC: NEUTRAL SCENE ENDER – LET IT FINISH.

Writer’s Notes

In writing this I have spent the first half of the story on prelude – the story of Gustav. Now we move into the meat of the story (that of Rapunzel and her Prince) in the second half. As stated earlier, I chose to include the introduction to Franz, the prince, at the end of Episode three to provide a hook into the following episodes. The resolution of Gustav’s character arc (while leaving the overall story incomplete) might present a temptation for some of the audience to leave the story at this point, and I wanted to give them a reason to come back. The mystery of the missing children, was intended to provide this hook.

This scene introduces the character of Prince Franz, soon to be King. We step back in time a short way (a matter of a few hours before the current King’s death) to give us time to establish Franz’ character. This scene provides us with the beginning of his character arc.

We initially encounter Franz as a responsibility shirking young man who does not want to take up the responsibilities he has been born to. His initial character is demonstrated by his goofing off in the forest.

Franz is accompanied by Hermann, his friend. Hermann was written largely as a sounding board for Franz. But he also gives the audience a way to voice challenges and make observations regarding Franz’ character.

The call to change comes in the form of a cry for help heard at a distance. But Franz resists the call by hiding (in case it is a servant looking to return him to his duties in the castle).

This substructure of the scene has been split over two scenes; this one and the opening scene of part 4.

Franz’ goal is to enjoy a fun day in the forest away from responsibility.

An obstacle is presented when he hears a boy’s cry for help – which he ignores.

SCENE 13:    EXT – THE FOREST – MORNING
(PRINCE FRANZ, HERMANN, BOY)

188. SOUND: (WALLA) AMBIANT FOREST SOUNDS – ESTABLISH AND UNDER.
189. NARRATOR: Earlier that day in the nearby forest…
190. HERMANN: Franz, I’m serious. You’re going to be King soon. You can’t keep running off to the woods all the time.
191. FRANZ: For goodness sake, Hermann. It’s because I’m going to be King soon that I’m doing this. All that responsibility is going to land on me. I want to enjoy the time I have left.
192. HERMANN: You make it sound like a death sentence. You’re going to be the most powerful individual in the land. Your word will be law. Shouldn’t you at least, I don’t know, try to prepare yourself for all that authority?
193. FRANZ: (SNORTS) I have watched my father at court since I was a child of six. Do you really think I’ve learned nothing in that time? His officials and advisors manage and direct his every waking moment, all in ways designed to give him a sense of his “great personal authority” while constantly manoeuvring to ensure he never exercises it.
194. HERMANN: Surely, it’s not as bad as all that?
195. FRANZ: Oh, yes it is. And, generally speaking, I’m grateful. The one time my father got away from them, he committed the family honour to tracking down some missing peasant girl. He’s bankrupted half the treasury on that quest and still has nothing to show for it.
196. HERMANN: The baby stolen by the witch? I know the story. What was her name?
197. FRANZ: Father is always impressing on me that, after he dies, it is my duty to take up the search. Seriously, as if I should be bound to honour the foolish promises he made nearly two decades past.
198. HERMANN: The King is an honourable man…
199. FRANZ: No, Hermann. You mean well, but the King is a fool, an impotent fool who lies now upon his bed awaiting death. He doesn’t even wish to see me… I can feel his disdain from here, even deep within this forest.
200. HERMANN: Your father loves you, Franz.
201. FRANZ: No, Hermann, he does not. I remind him too much of himself. When he looks at me he sees a mirror containing all his own faults and foibles, everything he finds wanting in his own character and stature is reflected back at him.
202. HERMANN: Franz, you are too hard on him… and yourself.
203. FRANZ: Hermann, you are a good friend to say so, but we both know the truth – I have been nothing but a disappointment to him. (BEAT) Take a good look at me Hermann, what do you see?
204. HERMANN: Franz?
205. FRANZ: Describe me.
206. HERMANN: Well, you are… er… you are as stout as your heart… erm…
207. FRANZ: Oh, very well played Hermann. What you mean is that I am fat, and in this you are completely correct. Continue.
208. HERMANN: .. well, um you have never been one to overlook your friends…
209. FRANZ: Ha! A nicely turned phrase. Can you not bring yourself to call me short. I am, you know, both short and fat.
210. HERMANN: .. er…
211. FRANZ: Go on Hermann, try and describe my looks in general.
212. HERMANN: Must I, Franz?
213. FRANZ: (AMUSED) Yes, I think you rather must. Consider it a royal command.
214. HERMANN: .. sire… you are a man whose handsome qualities must be… er mined from within.
215. FRANZ: (LAUGHING) Oh, Hermann, when I am King I will appoint you as a diplomat. I doubt one of father’s professional sycophants could have done better. I am ugly, Hermann, plain and simple. I take after my father in that regard.
216. HERMANN: And yet you are highly sought after, my Lord.
217. FRANZ: Oh, stop it, Hermann. We both know why that is. I am the most eligible bachelor in the Kingdom. Women throw themselves at me all the time. But none of them want to marry me. They want to marry the Kingdom. And it will only get worse when I succeed to the throne.
218. HERMANN: Poor Franz, the lonely Prince in search of love. I guess you think I should feel sorry for you, with all that wealth, power, and your pick of women?
219. FRANZ: Of course not, it’s just that I…
220. HERMANN: Yes?
221. FRANZ: (BEAT) I don’t know what I want. I don’t know who I am or what I want to do. I was raised to be King but I’ve spent my entire life dreading the whole prospect.
222. HERMANN: It is too nice a morning for such dreary thoughts. You have always been a little too melancholy, Franz. I apologise for raising the issue. Come on, I’ll bet you a pint of ale that the creek beyond those trees is full of fish.
223. FRANZ: Now a pleasant afternoon fishing is definitely one to lift the spirits.
224. BOY: (IN THE DISTANCE BUT APPROACHING) Help. Help. Please, someone help me!
225. HERMANN: Wait, did you hear that?
226. FRANZ: Oh, damn. I did not want my afternoon ruined. If that is one of the pages from the castle come to fetch me on some errand or other…
227. HERMANN: It sounded like someone in trouble… someone frightened.
228. FRANZ: Confound it! I am likely to have too few afternoons to myself in the near future. Quick let’s hide in the brush. If it is someone genuinely in need of aid, we’ll come out. If it’s a servant intent on flushing me out of my cover, we’ll show him I’m not so easily caught.
229. HERMANN: (UNCERTAIN) If you say so…
230. SOUND: (ENTERING THE THICK BRUSH)
231. FRANZ: Now, stay still.
232. BOY: (RETREATING INTO THE DISTANCE NOW) Please. Please someone, help me. Help me. Help…
233. FRANZ: It looks like he’s passed us by. The voice seems to have retreated away over yonder.
234. HERMANN: And you’re sure it wasn’t someone in need?
235. FRANZ: Who would have anything to fear in this forest? My father sees to it that the forest is kept clear of wolves and bears. No brigands are tolerated within its borders. I think we can be fairly sure it was nothing to be genuinely alarmed about.
236. HERMANN: (BRIGHTLY) Well in that case. There are fish a-waiting.
237. MUSIC: TIME PASSING SCENE ENDER – LET IT FINISH.
238. MUSIC: CLOSING THEME AND CREDITS – LET IT FINISH.

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Lessons

• Lesson 1 : The Science Behind Radio
• Lesson 2 : The History of Commercial Radio
• Lesson 3 : Appreciating Radio Drama
• Lesson 4 : Reading Radio Drama Scripts
• Lesson 5 : Performing Radio Drama
• Lesson 6 : Scripting Radio Drama

Worked Example (Radio Adaptation of Rapunzel)

• Appendix : Writer’s Notes on Adapting Rapunzel for Radio
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 1, Gustav the Hunter
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 2, Kidnapping
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 3, Desperate Measures
• Example Radio Play with writer’s notes) : Rapunzel for Schools
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 5, Fateful Meeting
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 6, Just Desserts

The post Rapunzel for Schools – Episode 3 – Desperate Measures appeared first on Host Your Own Old Time Radio Drama.

Below we present the complete text of episode 2 of Rapunzel for Schools. Each scene is introduced with writer’s notes on the process of adapting the original fairy tale as an Audio Drama.

EPISODE 2 –      KIDNAPPING

Writer’s Notes

At this point in Gustav’s character arc he has been challenged to change, and resisted that challenge, now he needs to commit himself to saving his baby from the witch.

As far as the overall plot is concerned, the stakes continue to rise moving towards the point at which the options available to the protagonist (Gustav) are limited and removed and there is no longer any way to avoid committing to the conflict personally. This process is not complete until the decision point facing Gustav (where the King begs to be released from his promise) occurs in Scene 12 (the point of no return). In this process we see Gustav lose his wife, the assistance of his neighbours, his brother-in-law Hans, and ultimately the King himself.

But right now Gustav is filled with remorse over making the deal with the witch and sets out to protect his home from her. He buys books and purchases a fake witch-repelling charm from a local charlatan.

When originally planned I saw this as a single scene, but in writing it, it became clear that it was three scenes (Scenes 4 to 6) with two separate conflicts.

The first half of the central conflict occurs in Scene 4. The conflict arises from Gustav’s goal to protect his soon to be born child. His own ignorance is his greatest obstacle and he buys a fake charm from a charlatan.

The second half of the conflict plays out in Scene 5. Disaster strikes when the witch arrives despite the charm. The dilemma he faces is whether to defend the baby, let the witch take her, or try to escape. His choice is to try to defend the baby but he is frozen in place by a spell and the witch escapes with the child.

The aftermath of the death of Gertrude in scene 6 cements this section as a significant decision point for Gustav. He literally loses all that he holds dear.

SCENE 4:     INT – THE COTTAGE – DAY
(CHARLATAN, GUSTAV)

1. MUSIC: OPENING THEME – LET IT FINISH.
2. SOUND: (BACKGROUND) DISTANT BIRDS – ESTABLISH AND UNDER.
3. NARRATOR: Once upon a time… that’s how these stories usually begin isn’t it? And this story is no exception. The poor hunter Gustav is awaiting the birth of his first child with far more dread than most expectant fathers. His next door neighbour, the witch Esmerelda, forced him into offering her his newborn in exchange for his life over an altercation concerning some vegetables some six weeks earlier. He hoped that making the deal would buy him some time in order to find another way out, but time is running short and he is growing desperate to find a way to prevent the witch from coming to collect. On the day we rejoin the story, Gustav is being visited by a local “phrenologist” while his wife, Gertrude, is at market.
4. SOUND: CHAIR SCRAPES ON FLOOR – LET IT FINISH.
5. CHARLATAN: [CUE] There you are Gustav, the leg seems to be coming along just fine. I doubt you’ll ever walk without a limp again though. How long has it been?
6. GUSTAV: (DEPRESSED) Six weeks.
7. CHARLATAN: Ah, well. The damage was simply too great. I’d like to tell you otherwise but that makes it certain. You’ll definitely be left with a limp. (SADLY) If only you’d called me in sooner.
8. GUSTAV: Gertrude insisted I see a real doctor first… no offence.
9. CHARLATAN: None taken. Lots of people are suspicious of Phrenologists. They just don’t see how the study of the bumps on a person’s head connects with the health of their bodies.
10. GUSTAV: Well, now that you mention it…
11. CHARLATAN: Oh, don’t you go worrying yourself about the science, dear boy. It’s far too complicated for the likes of you. I’ve been studying this for years and years. If you can’t bring yourself to trust me, then at least trust all that study.
12. GUSTAV: No, no. It’s not like that… (DEJECTED) it’s just that Gertrude said you wouldn’t be able to help me in the end.
13. CHARLATAN: I take it that your wife’s mistrust is why I’m forced to visit you while she’s at the market?
14. GUSTAV:   Yes.
15. CHARLATAN: Think nothing of it, dear boy. I am met with this kind of prejudice all the time.
16. GUSTAV: But you haven’t been able to help me.
17. CHARLATAN: Sadly, that’s true. But if your wife hadn’t kept you from coming to see me until it was too late, I could have.
18. GUSTAV: (SIGHS)
19. CHARLATAN: What’s the matter Gustav? A limp isn’t so bad. (BEAT) (CHANGING TOPIC) I see you’ve been making some changes around here since last I visited. When did that bookshelf turn up… I never took you for a reading man… “Mystical remedies”, “Charms and curses”, “Curse breaking”… you aren’t looking for a magical cure are you? (BEAT) Because, while I can’t guarantee it will work, I just happen to…
20. GUSTAV: No, no. Nothing like that. I’m looking for something that can deal with a witch.
21. CHARLATAN: A witch?
22. GUSTAV: Yes, a witch. I want to keep one out of this house.
23. CHARLATAN: But my dear boy, that’s as easy as child’s play.
24. GUSTAV: It is?
25. CHARLATAN: Of course it is. I have some charms that are guaranteed effective at keeping any and every witch away. Why, I wear one myself, see?
26. GUSTAV: (EAGER) How does it work?
27. CHARLATAN: I simply hang it around my neck like so. Witches are renowned for their jealousy towards those who work for the public good, you know, just like doctors, really. Only witches are far more dangerous.
28. GUSTAV: And this will really keep one out?
29. CHARLATAN: Oh, indubitably. Have you ever seen a witch in my company?
30. GUSTAV: Why, no!
31. CHARLATAN: They don’t come near me. And do you know why, my boy?
32. GUSTAV: The charm?
33. CHARLATAN: That’s right. The charm. (BEAT) But, sadly, I only have a handful of them left and to spare one..? Well, I need all the protection I can get, just for myself.
34. GUSTAV: No, please. This is an emergency. I have no protection at all. My wife and child need protection, and all my reading has turned up nothing. Please I’m running out of time. I have to find a way to repel witches… I just have to.
35. CHARLATAN: Well, I can see that you are desperate. I’ll tell you what, how much were you going to pay me for my visit today?
36. GUSTAV: Uh, one leg of venison.
37. CHARLATAN: That’s right, one leg. On thinking it over, I might be able to part with one of these trinkets, I mean very powerful protective amulets, for, say, the entire animal?
38. GUSTAV: The entire deer!!?
39. CHARLATAN: I’m risking a lot by parting with one of these charms, you know? With so many envious witches baying for my blood I really can’t afford to part with it for anything less.
40. GUSTAV: All right, all right. To be safe from that witch will make it worth the price. The deer is yours.
41. CHARLATAN: A pleasure doing business with you. Here’s the charm.
42. MUSIC: NEUTRAL SCENE ENDER – LET IT FINISH.

Writer’s Notes

The baby girl, Rapunzel, is born. A small gold chain is placed around her foot by her mother. Besides being a nice thing for the mother to do, this action provides a hook for Gustav’s recognition of Rapunzel after eighteen years of separation at the end of the story. It’s important to build setups into the story early that you wish to pay off at the end.

The baby is born and the witch comes to collect her. She sees the child and falls in love. The witch chooses not to murder the family before taking her away.

The witch, having been challenged to care about the plight of others, having also resisted that call in the case of Gustav, and motivated by selfishness though she is, is committing herself to the care of the new born as part of her own character journey and making a tentative step towards unselfishness by not murdering Rapunzel’s family.

The identification of the point of no return is a little difficult. We could potentially put it at this point (the witch’s actions effectively place some hard limits on Gustav’s choices) but I chose instead to strip away those choices further and set the point of no return at roughly the end of the 3rd episode (where all of Gustav’s allies and choices are gone and he is left to rely solely on himself for Rapunzel’s return).

SCENE 5:     INT – THE COTTAGE – DAY (TEN WEEKS LATER)
(GERTRUDE, GUSTAV, MIDWIFE, WITCH)

43. GERTRUDE: (IN LABOR) AAAAAARGH!
44. MIDWIFE: That’s it dear!
45. GERTRUDE: Who are you calling “dear” you myopic old bat. AAAARGH!
46. GUSTAV : (DISTRESSED AND PANICKED) I’ve had all I can stand. I’ll be outside.
47. GERTRUDE: Take one step towards that door and you’re as good as dead. I am NOT going through this alone. AAAAARGH!
48. MIDWIFE: (TO GUSTAV) Don’t worry, Gustav dear, she doesn’t know what she’s saying.
49. GERTRUDE: Do too. UUUUUUGH.
50. MIDWIFE: Some girls are just like this going through labour. She probably won’t even remember after the baby arrives.
51. GUSTAV: That’s all well and good for her. What about me? I’ll remember.
52. GERTRUDE: AAAARGH!
53. MIDWIFE: (TO GERTRUDE) That’s it. That’s wonderful dear. I can see the head now. (BEAT) (TO GUSTAV) As for you, you’ll be able to show some sympathy for what your wife’s going through. Now, get out of the way. The baby’s nearly here.
54. GERTRUDE: AAAAARGH!
55. MIDWIFE: That’s it. One last big push and…
56. GERTRUDE:
57. SOUND: BABY CRYING – ESTABLISH AND UNDER.
58. MIDWIFE: It’s a little girl. Gertrude, Gustav, you have a little girl. (TO THE BABY) Here, little one, go to your mama.
59. GERTRUDE: (CRYING) Oh, she’s beautiful. Just beautiful. Look Gustav. What will we name her?
60. GUSTAV: Um, how about your grandmother’s name; Rapunzel.
61. GERTRUDE: Rapunzel. That’s a beautiful name. (BABY TALKING) Hello Rapunzel. Hello my little girl. Welcome to your family. I’ve got something very special for you.
62. GUSTAV: She’s wonderful, Gertrude. Just wonderful.
63. GERTRUDE: Here you are, little Rapunzel. It’s a little gold chain with a heart on it. It belonged to my grandmother. I’m going to fasten it around your ankle now. (BEAT) There you are.
64. GUSTAV: It’s beautiful darling.
65. SOUND: MAGICAL CHIME – LET IT FINISH.
66. ESMERELDA: Oh, now isn’t that a lovely sight. The little family. Too bad I’m here to mess everything up.
67. GUSTAV: No… But how?
68. ESMERELDA: Don’t look so surprised. You knew this was coming. I certainly hadn’t forgotten.
69. GERTRUDE: Gustav? What’s this about? Who is this person?
70. MIDWIFE: It’s that witch from next door.
71. GUSTAV: .. but you can’t be here. I bought a protection amulet. It’s… it’s supposed to keep witches away.
72. ESMERELDA: (WITCH’S DERISIVE CACKLE) Mwahahahahaha. That thing? That’s just an acorn on a piece of string. I hope you didn’t pay very much for it. You certainly haven’t gotten any smarter in the months since I saw you last. (BEAT) And from your wife’s expression I’m willing to bet you never told her about our little deal.
73. GERTRUDE: Gustav, what is she talking about?
74. ESMERELDA: Oh, look at your face. I hate to be the one to tell you this, my dear, but your husband has been hiding things from you.
    Remember that broken leg he’s been recovering from. He got it while trespassing on my property.
75. GERTRUDE: No. Gustav, how could you have been so stupid?
76. ESMERELDA: Oh, yes. I’m hoping the stupidity isn’t genetic though. You see, I made a deal with your husband. I would spare his life and let him return to you on condition that when your baby was born, I would take her off your hands.
77. GERTRUDE: (Wailing) No. Not my baby. Not Rapunzel.
78. MIDWIFE: No, you monster.
79. GUSTAV: No, I won’t let you, I’ll…
80. ESMERELDA: Petrify!
81. SOUND: MAGICAL CHIME – LET IT FINISH.
82. GUSTAV AND GERTRUDE: (MUFFLED) Mmmmmf. Mmmmm-mmmmm. Mmmmmf
83. SOUND: BABY STARTS TO CRY AND STOPS – DUCK UNDER.
84. ESMERELDA: Oh yes, Gustav? You’ll do what? (CACKLES BRIEFLY) Mwahahahahaha. You could simply fulfil your promise you know? No? Then I’m guessing, if that doesn’t suit you, you might try to kill me? Hmmm? Well, I can’t have that now can I? No. Much better to freeze you all in place. You really are an idiot, Gustav. You might have tried to escape if you hadn’t foolishly trusted in that charlatan’s “anti-witch” charm – I might never have been able to find you if you had simply run away. Oh well. Too late now. (BEAT) (BABY TALK) Now let me take a good look at you, Miss Rapunzel, yes let me take a good look at you. Yes, yes, yes.
85. SOUND: BABY GIGGLES AND COOS – DUCK UNDER
86. ESMERELDA: Oh aren’t you a pretty little girl. So, so pretty. You’re going to come live with me. Yes you are. And we’re going to be very, very happy. (WITH STEEL IN THE VOICE) And I’m going to be so much better as a parent than they ever would have been. I’m going to train you to be a healer and, starting right now, I’ll prove how much better than them I am. I’m not even going to kill them. How’s that, eh? (SLIPPING BACK INTO BABY TALK) That’s right. I’m not even going to kill them? No, I’m not. (BEAT) Dissipate!
87. SOUND: MAGICAL CHIME – LET IT FINISH.
88. GUSTAV: … I’ll kill you if you try to…
89. GERTRUDE: She’s gone. My baby, she’s gone. My baby, no!… Oh (PASSES OUT).
90. GUSTAV: Gertrude. Gertrude! Oh no. Gertrude, wake up! Wake up, please…
91. MUSIC: TRAGIC SCENE ENDER – LET IT FINISH.

Writer’s Notes

The witch needn’t have bothered sparing Gertrude as she dies of grief and is buried in the local graveyard. Gustav’s friend (and Gertrude’s brother), Hans, tries to provide comfort and fails. The witch appears by the graveside and offers to marry Gustav.

This scene was written to push Gustav into action. The combination of his wife’s death and the unfeeling and clumsy offer of marriage from the witch push him into positive action at last.

While the scene achieves its goals (motivating Gustav and introducing the witch’s own personal “point of no return”, it fails on a number of levels and if I had time, I would rewrite it. For a start it essentially “fridges” Gertrude. “Fridging” is a term that refers to creating a disposable character whose only purpose is to die and motivate another character in the story. While this works from a dramatic point of view, it is somewhat clichéd and lazy. The dramatic technique has also, rightly, been criticised as a means of devaluing the (usually female) victim. Secondly, it forms another point of resistance for the witch (whose resistance to change has already been established).

The central conflict of the scene is as follows…

Gustav’s goal in the scene is to mourn his wife but an obvious obstacle exists in his urgent need to recover his missing daughter. The disaster in the scene is the arrival of the witch and her revelation that she is not looking after the baby at all well. The dilemma Gustav faces is whether to allow the grief to consume him, take action against the witch himself, or seek aid. His choice is to seek aid.

SCENE 6:     EXT – THE VILLAGE GRAVEYARD – DAY
(PRIEST, CROWD, HANS, GUSTAV, WITCH)

92. SOUND: (BACKGROUND) BITTER WIND – ESTABLISH AND UNDER.
93. PRIEST: (INTONING IN RITUAL FASHION) Man that is born of woman has but a short time to live, and is full of misery. He comes up, and is cut down, like a flower; he flees as it were a shadow, and never continues in one stay.
    We brought nothing into this world, and it is certain we can carry nothing out. The Lord gave, and the Lord has taken away; blessed be the name of the Lord.
    Blessed are they that mourn: for they shall be comforted.
    Neither death, nor life, nor angels, nor principalities, nor powers, nor things present, nor things to come, nor height, nor depth, nor any other creature, shall be able to separate us from the love of God, which is in Christ Jesus our Lord.
    I am the resurrection and the life, says the Lord : he that believes in me, though he were dead, yet shall he live: and whosoever lives and believes in me shall never die.
    In your mercy, dear Lord, grant Gertrude, beloved wife of Gustav, eternal rest and raise her with your saints on the last day. In your divine promises we trust.
94. CROWD: Amen
95. GUSTAV: (BEGINS SOBBING)
96. SOUND: (WALLA) MURMURING AND DISPERSAL OF CROWD – ESTABLISH UNDER AND FADE.
97. HANS: Come on Gustav. It’s going to be all right.
98. GUSTAV: (SOBBING) She’s gone. My Gertrude is gone and the witch has taken our daughter.
99. HANS: But what can anyone do? What can little people like us do? The witch could kill a hundred of us and it would make no difference.
100. GUSTAV: (QUIETLY – ALMOST WHISPERING) She was your sister.
101. HANS: And she starved herself to death out of grief. There’s no accounting for the miseries of this world, Gustav, and little enough comfort to be found for those who remain behind when some of us are taken. Don’t waste what’s left of your time on earth trying to figure out the “whys” of it all. (BEAT)(GIVING UP) I’ll be waiting for you by the donkey.
102. SOUND: HANS’ FEET TRUDGE AWAY – FADE OUT.
103. GUSTAV: (STILL QUIET) But I know the reason why. I know the reason why and I’m powerless to do anything about it. It was that… it was that… that witch. It was her… (FACING HIS OWN GUILT SQUARELY) and it was me, and my own cowardice. I should have let her kill me. I should have had more courage… I should have… (BREAKS DOWN SOBBING ONCE MORE).
104. SOUND: MAGICAL CHIMES – LET IT FINISH.
105. ESMERELDA: (BUSINESS LIKE)    Well, that’s her out of the way. (BEAT) To business. Gustav, I have a proposition for you.
106. GUSTAV: (ANGRY) You! I’m gonna…
107. ESMERELDA: (MATTER OF FACT) Petrify!
108. SOUND: MAGICAL CHIMES – LET IT FINISH.
109. ESMERELDA: Does it always have to be this way? I’ve got good news for you buster.
110. GUSTAV: Mmmmmmmf. Mmmmf!
111. ESMERELDA: Have it your way. (BEAT) Now, while I have your frozen attention…
     It has occurred to me that I may have been a bit premature in picking the child up so soon.
112. GUSTAV: Mmmmmf!
113. ESMERELDA: I perhaps should have waited until it could, you know, feed and clean itself, maybe even a little longer. Still, hindsight is 20/20 as they say.
114. GUSTAV: Harrmmmmmf!
115. ESMERELDA: And the way she cries. I’ve taken to sticking rags in her mouth just to get a little peace.
116. GUSTAV: MMMMMF!
117. ESMERELDA: But now that your wife is dead… well, I think there’s a solution here for both of us. (BEAT) You want your daughter, and I want an apprentice.
118. GUSTAV: Mmmmmf???
119. ESMERELDA: Surely you can see it. The simple solution is for the two of us to get hitched. What else are you going to do? Curl up and die of grief? End it all? Try to fight me? You haven’t the brains. No, marry me and let bygones be bygones. The girl gets her father back, I stop having to clean up after her – you have no idea how she smells! – and everyone’s happy.
120. GUSTAV: MMMMMMF! MMMMMM, MMMMMF, MMMMMMMMMF!
121. ESMERELDA: Oh sorry, I forget. Let me unfreeze your mouth – just a little, though. No need to take unnecessary chances now, is there? (BEAT) Mobilise!
122. SOUND: MAGICAL CHIMES – LET THEM FINISH.
123. GUSTAV: (PANTING WITH EXERTION AND QUIET FURY) You stole my daughter, the grief of it killed my wife, and now, with her barely in the ground, you have the arrogance to look me in the face and ask me to marry you so I can look after my own daughter on your behalf, is that it?
124. ESMERELDA: Pretty much. What do you say?
125. GUSTAV: I Gustav, son of Lars, say this: I swear, here and now, on the grave of my beloved Gertrude, to dedicate my life to hunting you down and recovering my daughter. I promise that I will never let a day go by where I do not attempt to kill you for what you have done to me and my family. If it takes the rest of my life… If I have to spend every last cent… If I have to solicit the aid of the King himself… If, in the end, all I have available to me are my bare hands… I will hunt you down and kill you. I will KILL YOU! YOU HEAR ME, I WILL KILL YOU!
126. ESMERELDA: Petrify!
127. SOUND: MAGICAL CHIMES – LET THEM FINISH.
128. ESMERELDA: Ah well, it was just a thought. I could have used the help. She doesn’t half stink, lying there in her own filth. But I’ll figure it out, mothers always do I’m told. Ta-ta!
129. SOUND: MAGICAL CHIMES – LET THEM FINISH.
130. SOUND: GUSTAV COLLAPSES TO KNEES – LET IT FINISH.
131. GUSTAV: (WEEPING GROWING TO WAILING) Noooooooooo!
132. MUSIC: TRAGIC SCENE ENDER – LET IT FINISH.

Writer’s Notes

This is another series of scenes that were originally envisaged as a single entity.

Gustav seeks an audience with the King in order to enlist his aid. The Queen has just given birth to an heir to the throne. Everyone tells him they are too busy to listen to his concerns… but he does not give up.

In terms of Gustav’s character arc, this is where his commitment to his decision to try to regain his daughter is tested.

He wishes to gain an audience with the king – this is his goal. However, a petty functionary who dislikes peasants is the obstacle that stands in his way. Disaster strikes when he learns that he will have to wait two years for the appointment. The dilemma Gustav faces is whether to give up, find someone who knows the king who can act as his sponsor, raise a bribe, or take desperate action like breaking into the King’s chambers in order to get a hearing. He settles on the desperate choice.

Because there was a lot to accomplish here I broke this section into three scenes. The first takes place in the courtyard and gives the Gustav (and the audience) the information regarding the birth of the prince. The second involves the encounter with the Chamberlain and ends with Gustav being told he has to wait two years before an audience with the king will be granted. The final scene takes place in the courtyard again and involves Gustav deciding to break into the King’s chambers.

SCENE 7:     (EXT.) THE CASTLE COURTYARD
(HANS, GUSTAV)

133. SOUND: (WALLA) BUSTLE OF BUSY CASTLE – ESTABLISH AND UNDER 
134. HANS: Gustav, wait. You can’t just walk up and demand to see the King.
135. GUSTAV: Why not? He’s my king. He collects taxes from me. He expects me to spill my blood on his behalf if he sounds a general call to arms for the defence of his realm. Why shouldn’t I have the right to call on his aid? It’s part of the social contract after all.
136. HANS: Where’d you learn a phrase like that anyway?
137. GUSTAV: (DISGUSTED GRUNT)
138. HANS: Gustav, stop. Just stop. (BEAT) Firstly, it doesn’t work that way. You’re just a little person. Your small concerns don’t rate any notice in the King’s business.
139. GUSTAV: (OUTRAGED) My small concerns? She was your sister who died. She’s your niece who is missing. Just how small do you think they are?
140. HANS: I know, I know. These issues are so important to us they make up our entire world. But they are nothing to a King whose world is infinitely larger.
141. GUSTAV: All right then, just leave.
142. HANS: What? No, Gustav. Don’t be like this.
143. GUSTAV: No-one else in the village is willing to help. Everyone is afraid of the witch. I get it, I would have been afraid myself if it had been one of our neighbours that this happened to. But it’s not one of our neighbours, it’s me. It’s our family! We have to try. Don’t you see?
144. HANS: All right. All right. I came out to the castle with you, didn’t I? I’m here and I’m coming with you the rest of the way. I just don’t want you to get your hopes up is all.
145. GUSTAV: (DESPONDENT) Come on. I’ll ask someone where the Chancellor’s office is. (BEAT) Here, excuse me. Do you know where the Chancellor’s office is by any chance?
146. PEASANT WOMAN: Sure, but you won’t be getting much out of him today?
147. GUSTAV: What? Why not?
148. PEASANT WOMAN: (LAUGHS) You don’t think the castle court is this full of people all the time. Dignitaries are pouring in to pay their respects to the new heir…
149. GUSTAV: (BEAT)
150. PEASANT WOMAN: Oh, surely you knew? (GUSHING WITH EXCITEMENT) The Queen gave birth to a bouncing baby boy this morning. They’ve named him Franz. He’s sure to grow up tall and hansome if he takes after his mother.
151. GUSTAV: And if he takes after his father?
152. PEASANT WOMAN: Then, (AHEM), probably less so. Anyway, the Chancellor’s office is over that way.
153. GUSTAV: Thank you. (TO HANS) A royal baby, yet? Could this day get any more complicated?
154. MUSIC: NEUTRAL SCENE ENDER – LET IT FINISH.

SCENE 8:     (INT.) CHANCELLOR’S OFFICE
(CHANCELLOR, HANS, GUSTAV)

155. SOUND: LIGHT KNOCK AND OMINOUS DOOR CREAK – LET IT FINISH.
156. GUSTAV: .. your Honour? Is anyone here? Only the man in the doorway said…
157. CHANCELLOR: (IMPATIENT AND OFFICIOUS) Yes. Yes. Come in. I haven’t got all day.
158. GUSTAV: Thankyou your Honour. Um. My brother-in-law and I wish to…
159. CHANCELLOR: (DISDAINFUL) Oh… Peasants… Hangings are down the hall to your left.
160. GUSTAV: Um, we’re not here to watch a hanging!
161. CHANCELLOR: I can see that. I assumed you were here to be hung.
162. GUSTAV: What? No!
163. CHANCELLOR: Really? What does someone like you have to live for? Don’t answer that. It was purely rhetorical.
164. HANS: I’ll give you rhetorical you puffed up little…
165. GUSTAV: Hans, No! Um, Lord Chancellor, we were told you keep the appointment book for the King.
166. CHANCELLOR: Yes?
167. GUSTAV: Well, we’d like to make an appointment please.
168. CHANCELLOR: (BEAT)(STARTING TO LAUGH) Hahaha. Oh, really. It must be Thursday. Gerhard is in on a Thursday. Ha ha ha. He really does like to have his little jokes. Ha ha ha. Very funny. Very funny indeed. Now if you don’t mind I’ve got work to do.
169. GUSTAV: But your Honour…
170. CHANCELLOR: Now really, the joke was very good, but I have work to do.
171. HANS: It is NOT a joke, your Honour. My brother-in-law would like an appointment to see the King.
172. GUSTAV: Yes, urgently.
173. CHANCELLOR: (BEAT) Truly? Well, I never. You do realise you will need to make yourselves considerably more presentable before you will ever be allowed to see the King?.
174. GUSTAV: These are my best clothes.
175. HANS: Those are his only clothes.
176. CHANCELLOR: Yes, thank you. I’m down wind enough to detect that on my own.
177. GUSTAV: I must see the King, a witch has stolen my daughter and I need his aid to get her back.
178. CHANCELLOR: Yes, yes. I’m sure it’s very urgent but… what did you say?
179. GUSTAV: A witch has taken my daughter and I need the King’s help to get her back.
180. CHANCELLOR: Preposterous! There’s no such thing as witches. (SUSPICIOUSLY) Are you sure Gerhard didn’t send you?
181. GUSTAV: I don’t know anyone name Gerhard, sir, I promise you. I just want to get my daughter back.
182. CHANCELLOR: (SUDDENLY OFFICIOUS) We all want something… er… what did you say your name was?
183. GUSTAV:
184. CHANCELLOR: We all want something, Gustav. And everyone wants something from the King. It’s my job to make sure only the deserving one’s get it.
185. HANS: And just who qualifies as deserving in your opinion, your Honour? The well dressed peacocks gathered outside?
186. CHANCELLOR: Well, presentation is important, and a well dressed gentleman does make a positive first impression – one which you two are clearly not versed in doing.
187. HANS: I see, and then it would also be helpful if the petitioner had a sizeable purse.
188. CHANCELLOR: Yes, now you see it. A man of means has clearly had education, is responsible and frugal, and far less likely to waste the King’s time than a man from more “humble” circumstances.
189. HANS: And the merits of the case itself?
190. CHANCELLOR: Oh, I take my duties very seriously, of course. The King has entrusted me with the task of weighing each issue brought before me. I judge every case on its merits – I’m required to by royal decree. But I do have to be careful to ensure the King’s time isn’t wasted.
191. HANS: And the kidnapping of a newborn baby girl? Would this count as a case with merit?
192. CHANCELLOR: Well, naturally. That would be a very serious matter.
193. HANS: Good, then you’ll grant us an audience with the King?
194. CHANCELLOR: Of course. Over something so serious I’m bound to… once we get all the details in place. Now, who is your sponsor?
195. GUSTAV: I beg your pardon?
196. CHANCELLOR: Your sponsor? You know, the person in the King’s court who is willing to attest to your veracity.
197. GUSTAV: I am an honest man. My word is my bond.
198. CHANCELLOR: Yes, but your word counts for very little in a setting where you are basically unknown.
199. GUSTAV: Well, everyone in the village knows me. They will attest to my honesty.
200. CHANCELLOR: Oh dear. Dear. Dear Dear.
201. GUSTAV: I don’t understand…
202. HANS: The Chancellor is suggesting that you don’t have any important connections here at court.
203. CHANCELLOR: Well now, I wouldn’t want to suggest that…
204. HANS: It’s all right. I’m beginning to get the picture regarding how things work around here. And before you ask about administration fees, overheads, tarrifs, and anything else, Gustav spent the last of his money just to get here.
205. CHANCELLOR: (SPECULATIVE) Oh?
206. HANS: And I don’t have any money either.
207. CHANCELLOR: (DISAPPOINTED) Oh. No money. Poorly presented. No court sponsor. Tsk Tsk Tsk. I’m not sure there is a lot I can do for you.
208. GUSTAV: So you won’t help me to see the King.
209. CHANCELLOR: Oh, I didn’t say that.
210. GUSTAV: Really?
211. CHANCELLOR: Really. I can fit you in for an appointment…
212. GUSTAV: Yes?
213. CHANCELLOR: At nine AM on the eighteenth of August…
214. GUSTAV: (EXCITED) That’s only two days away!
215. CHANCELLOR: …in two years’ time.
216. SOUND: ECHOING CRASH OF APPOINTMENT BOOK CLOSING – LET IT FINISH.

SCENE 9:     EXT – THE CASTLE COURTYARD – DAY
(HANS, GUSTAV)

217. SOUND: (WALLA) BUSTLE OF CASTLE COURTYARD – ESTABLISH AND UNDER.
218. HANS: I’m sorry Gustav. I tried to warn you.
219. GUSTAV: I feel ill. I dared to let myself hope. I thought, “if I could just get a hearing from the King…”
220. HANS: I know. It wasn’t to be.
221. GUSTAV: There must be something I can do?
222. HANS: Like what?
223. GUSTAV: I don’t know. Find a sponsor perhaps? Raise some money for a bribe?
224. HANS: (URGENTLY) Shhh! Be careful what you say openly. We’re still in the courtyard.
225. GUSTAV: …maybe even break into the King’s chambers and see him directly.
226. HANS: (PANICKED AND CHIDING) What did I just say? Are you crazy? Don’t even think about doing something like that. You’re beginning to sound self-destructive.
227. GUSTAV: (LAUGHS BITTERLY) Self-destructive? Perhaps. (BEAT) Or maybe it’s just another word for desperate.
228. HANS: Look Gustav, you can’t start thinking like this.
229. GUSTAV: Well, what would you have me do? A hunter, crippled in one leg, even with the help of a fisherman like yourself, doesn’t have what it takes to confront a witch. I need an army. The villagers are sympathetic but afraid and won’t come to my aid. The King is the only one who commands the power to take her on… (BEAT) and if I stop trying, I really will die.
230. HANS: I’m sorry Gustav, what you’re talking about is madness. They’ll lock you up in a dungeon so deep you’ll never see daylight again… and then they’ll throw away the key… if they don’t execute you for treason first. There is no way this ends well for you and I can’t be a part of it.
231. GUSTAV: Yes, I know. You have a wife and little ones of your own. I can’t put them at risk by asking you to help me with what has to come next.
232. HANS: You’re decided then?
233. GUSTAV: Yes, I must see the King. I’ll try to get into his chambers tonight.
234. HANS: Insanity! (BEAT) But, if I can’t dissuade you from this madness…, I will at least wish you luck.
235. GUSTAV: Thank you Hans… and goodbye.
236. MUSIC: MELANCHOLY SCENE ENDER – LET IT FINISH.
237. MUSIC: CLOSING THEME AND CREDITS – LET IT FINISH.

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Lessons

• Lesson 1 : The Science Behind Radio
• Lesson 2 : The History of Commercial Radio
• Lesson 3 : Appreciating Radio Drama
• Lesson 4 : Reading Radio Drama Scripts
• Lesson 5 : Performing Radio Drama
• Lesson 6 : Scripting Radio Drama

Worked Example (Radio Adaptation of Rapunzel)

• Appendix : Writer’s Notes on Adapting Rapunzel for Radio
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 1, Gustav the Hunter
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 2, Kidnapping
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 3, Desperate Measures
• Example Radio Play with writer’s notes) : Rapunzel for Schools
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 5, Fateful Meeting
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 6, Just Desserts

The post Rapunzel for Schools – Episode 2 – Kidnapping appeared first on Host Your Own Old Time Radio Drama.

Below we present the complete text of episode 1 of Rapunzel for Schools. Each scene is introduced with writer’s notes on the process of adapting the original fairy tale as an Audio Drama.

EPISODE 1 –     GUSTAV THE HUNTER

Writer’s Notes

Okay, so here’s where the writing begins.

What follows is a worked example of adapting a fairytale for dramatic audio presentation based on the methods set out in the “Audio Drama for Schools” suite of lessons. Each scene (or in some cases group of scenes) is prefaced by some notes from the author explaining the creative and practical choices made in the process of creating these plays.

The very first choice made was to adapt the story into six episodes rather than try to squeeze it into a single performance.

The first act aims to establish the characters (in their pre-adventure behaviors and patterns), calls them to action, and calls them to a change of character.

As noted earlier, the story of Rapunzel, though simple, is somewhat sprawling and a lot happens before our title character is even born. As a result I have chosen to focus the first half of the story on Rapunzel’s father.

According to my outline, the first scene has a number of objectives…

• It sets out to establish the inciting incident
• It sets out to demonstrate Gustav’s initial character
• It presents Gustav with a call to change and growth in character

The inciting incident event that sends Gustav (Rapunzel’s father) out of his normal pattern of behaviour (living his life as a hunter) into the witch’s garden and the story itself is an accident.

The inciting incident needn’t be something earth-shaking in intent. In this case it is as simple as Hans, Gustav’s well-meaning but impetuous brother-in-law, eating his wife’s salad at a time when vegetables are scarce.

I decided that having the community face a blight on their vegetable crops and having the witch’s garden prove immune to it would help motivate Gustav to climb the witch’s fence.

With regard to demonstrating Gustav’s initial character, I had decided he is, at the start of our story, an easily swayed sort of man who wants to please everybody and has few convictions of his own.

I try to demonstrate this by having him agree to both of the mutually exclusive opinions of his wife and brother-in-law regarding the prospects of an end to the food-shortages brought on by the blight. To underline it, I have them recall an incident in which he very nearly found himself married to someone else because of his unwillingness to make waves.

The call to change comes from Hans, the brother-in-law. When Gustav panics at the disappearance of the salad, Hans, challenges him to grow a spine and make a decision.

The micro-plot (the central conflict) of the scene is set up as follows.

Gustav has a goal. He wants to give his wife some fish and salad for dinner.

There is an obstacle to achieving this. Salad is scarce (due to blight) and he is a hunter, not a fisherman. Despite this he has some unspoiled salad on hand and he has arranged to obtain some fish from his brother-in-law in exchange for some venison. Unfortunately, Hans, also likes salad and does not know that the little that is there is all Gustav has.

Disaster strikes when his brother-in-law unwittingly eats the salad.

The big question or dilemma of the scene (so identified because its answer propels us into the next scene) then becomes “Will Gustav go without salad, pay an exorbitant price at market, or attempt to get some from the Witch next door?”

To be dramatic the question of the scene must have more than one possible answer.

Gustav makes a decision to visit the witch (getting our story under way).

I have chosen to use a narrator as a convenient means of introducing each episode (and summarising what took place in previous episodes for those who come in late) and also for helping the story skip over large periods of time (such as the eighteen years between Rapunzel’s birth and the death of the King) and avoid undue repetition as when Rapunzel must be told her own history (something the audience has already seen for itself).

I could have chosen to dispense with the narrator (many folk feel a narrator’s presence destroys the audience’s sense of immersion within the story) but it seemed the most convenient way to achieve these particular story goals.

ACT 1

SCENE 1:     INT. A SMALL COTTAGE IN THE WOODS — DAY
(NARRATOR, GUSTAV – the hunter, HANS – the fisherman, GERTRUDE – pregnant wife of GUSTAV)

1. MUSIC: [1] OPENING THEME — LET IT FINISH
2. SOUND: [3] (BACKGROUND) DISTANT OCCASIONAL BIRDSONG
3. NARRATOR: Once upon a time, in a faraway land, there lived a hunter and his wife in a small cottage. The hunter’s name was Gustav and his wife was Gertrude and they were awaiting the birth of their first child. On the day our story begins they received a visit from Hans, Gertrude’s brother…
4. GUSTAV: Come in Hans, sit down and give us some news. I’ve got some fresh cooked venison for you… (WORRIED) if you’ve brought the fish…
5. SOUND: [4] DOOR CLOSES – LET IT FINISH
6. HANS: Don’t let yourself get in a knot, Gustav. I brought the fish right enough. I take it Gertrude has still got you running scared.
7. GUSTAV: (URGENTLY) Shhhh. She’ll hear you.
8. GERTRUDE: She did hear you, and don’t think we won’t be talking more about this later, Gustav.
9. GUSTAV: Gertrude, my sweet. I didn’t see you there.
10. GERTRUDE: Obviously. (STERNLY) Welcome Hans. Have a seat.
11. SOUND: [5] CHAIR BEING PULLED UP TO TABLE – LET IT FINISH.
12. HANS: (ACKNOWLEDGING) Gertrude. (BEAT AS HE SITS) Ah! Still terrorising Gustav with your cravings, are you?
13. GERTRUDE: You should try it some time. Six months of vomiting and getting stuck in doorways because you’ve grown to the size of a bear and you’d be a little testy too… Did you bring the fish?
14. HANS: It’s here. I’m surprised you can’t smell it.
15. GERTRUDE: You’re a fisherman. You always smell of fish so I can never tell. Oooh, but you are an angel Hans, and don’t let anyone tell you differently. The little one growing inside me has been screaming for fish for days. And salad as well, truth be told.
16. HANS: And given how pale Gustav is looking, I’d be willing to bet you’ve been doing some screaming of your own.
17. GERTRUDE: (SHEEPISH) Maybe so. He has had a bit to put up with of late, poor lamb.
18. GUSTAV: He’s standing right here, you know?
19. HANS: (LAUGHING) Hmpf.
20. GERTRUDE: Well, you mind your manners and see that Hans gets himself fed. (BEAT) That merchant in the village was looking sour last week. I asked him what was up and he said he thought the food shortages would be coming to an end. I guess he sees the end of being able to charge those extortionate rates, and it’s making him a little glum. I also guess that means that there’ll be no need for the King to take action after all. (BEAT) What do you think Gustav?
21. GUSTAV: Oh, I agree with you dear.
22. HANS: You haven’t been out to the farms. The blight has been awful hard on the growers. And even the game is getting scarce. Some of the streams I fish in are drying up as well. I’m pretty sure the King will be forced to take action and soon.
23. GUSTAV: Absolutely, I agree.
24. GERTRUDE: (AFFECTIONATELY ANNOYED) You’re the most easily swayed man I ever met. (BEAT) Just as well really, or you’d have married that Helga Weldt.
25. HANS: (LAUGHING) Now, there was a narrow escape.
26. GUSTAV: All right, all right. I didn’t know what she had in mind when she started barking orders at me. I just thought it would be easier to go along with her.
27. HANS: You didn’t know how to tell her “no”, you mean. She’d have had you in front of the priest if I hadn’t warned Gertrude what she was up to.
28. GERTRUDE: (LAUGHING) And I’m still not sure I got the better end of the deal. Well, it’s not like I wasn’t fully warned about what I was getting myself into… especially after I had to come and rescue you like that! Anyway, I’ve got washing to hang out.(BEAT)
    Hans it’s good to see you again.
29. HANS: You too Gertrude.
30. SOUND: [6] WOMAN’S FOOTSTEPS DEPARTING
31. GUSTAV: (ANNOYED) Fine. Wait here while I get that venison. It’ll be charred and inedible if I leave it any longer.
32. SOUND: [7] MEAT BEING TAKEN FROM PAN (SCRAPING OF KNIVES ON A PAN ETC.)- LET IT FINISH.
33. SOUND: [8] PLATE SET ON TABLE (ROUGHLY) – LET IT FINISH.
34. GUSTAV:
35. HANS: Don’t be like that. I’ve known you all my life. I let you marry my sister. What’s a brother in law for if not a little good natured ribbing.
36. GUSTAV: (MUTTERING) As if life isn’t hard enough… I’ll be with you in a moment.
37. SOUND: [9] HANS EATS LOUDLY – ESTABLISH FOR A FEW MOMENTS.
38. HANS: Do you have any greens to go with it?
39. SOUND: [9]POTS CRASH – LET IT FINISH.
40. GUSTAV: Now I’ve knocked over the pots. What was that you said?
41. SOUND: [10] CLATTERING OF POTS BEING CLEANED UP – DUCK UNDER.
42. GUSTAV: (DISTRACTED) I’m just serving myself. I’ll clean this up and join you in a minute.
43. HANS: (MUTTERING) It’s all right. I think I’ve found what I need.
44. SOUND: [5] FOOTSTEPS THEN CHAIR PULLS OUT AND UP TO THE TABLE – LET IT FINISH.
45. SOUND: [8] CLUNK OF PLATE – LET IT FINISH.
46. SOUND: [11] EATING UTENSILS AND GUSTAV EATING – ESTABLISH FOR A FEW MOMENTS.
47. GUSTAV: Are things really all that bad out there? Regarding the blight, I mean?
48. HANS: No-one is starving yet, but things are getting bad. And the market prices are beyond extortionate.
49. GUSTAV: Then I’m glad I was able to get some salad together for Gertrude’s dinner. It may be a while before we see anything fresh and edible again. The remnants in the larder are full of the blight worm and can’t be eaten.
50. HANS: What of your neighbour? I passed her crops on the way here. There’s no sign of blight in her garden.
51. GUSTAV: (LAUGHS) Well there wouldn’t be, would there?
52. HANS: What do you mean?
53. GUSTAV: Surely you know who we live next door to?
54. HANS: Should I?
55. GUSTAV: It’s Esmerelda… You know, the witch? I hate to think what would happen to any blight worms that tried to get into her garden. You know I’ve heard tell those statues of hers come to life and threaten anyone who gets too near her plants.
56. HANS: I hadn’t heard. But I’m glad you haven’t been so hard hit that you didn’t have a few greens to spare. I need a little of the leafy stuff to help the Venison go down.
57. GUSTAV: What do you mean a few… Oh no! What have you done?
58. HANS: What do you mean?
59. GUSTAV: (PANICKED) That was the salad I was keeping for Gertrude. You’ve eaten it… all of it! She’s going to kill me!
60. HANS: Easy Gustav. It’s not as bad as all that.
61. GUSTAV: Not as bad as all that??? You haven’t had to live with her. It’s all she talks about. Fish and salad. Salad and fish. All day long.
62. HANS: You can still get some in the village can’t you?
63. GUSTAV: It cost the last of what I had tucked away just to buy that.
64. HANS: What about your neighbour, Esmerelda? Surely she’d spare you a little.
65. GUSTAV: I doubt it. She has a nasty reputation. (BEAT) Oh, what am I going to do?
66. HANS: Gustav, you never change. It’s time you grew a spine and made a decision for yourself. Either you face the music and explain to Gertrude what happened or you take the bit in your mouth and visit your neighbour.
67. GUSTAV: I guess I’ve got no choice. You saw how happy Gertrude was earlier. It’s the first time she’s laughed in weeks. I’ve got to try at least.
68. HANS: That’s the spirit.
69. SOUND: [12] CHAIR PULLS OUT – LET IT FINISH.
70. HANS: Thanks for the venison. I’m afraid that’s the last of the fish I’ll be able to bring for a while. It’s getting difficult enough to feed my own folk now let alone have anything left over for trade.
71. SOUND: [13] MALE FOOTSTEPS TO DOOR – LET IT FINISH.
72. HANS: Keep hale Gustav, and look after my sister.
73. GUSTAV: I will Hans. And I’d best head next door to talk with Esmerelda.
74. MUSIC: [14] NEUTRAL SCENE ENDER – LET IT FINISH.

Writer’s Notes

This is an example of a scene that changed significantly from the way it was originally conceived in the outline. It’s always worth remembering that the structures adopted for writing are only guidelines and can be modified (or even abandoned) according to need.

Fight scenes can be tricky and surprisingly hard to do in audio. A fight scene needs to be over really quickly because otherwise the listener is being treated to a whole series of bangs and whaps that don’t provide anything much for the listener’s imagination to grab onto… and a blow by blow description (while in keeping with many of the conventions of the genre) starts to sound like a commentary at a prize fight.

For this reason I chose to cheat a little and jump forward in time and begin scene two with Gustav already caught by the Witch’s guardians – a pair of animated stone statues.

The statues are the initial obstacle, demanded by the structure of the plot, that closes out the first act.

Originally, in my outline, I imagined Gustav would be sneaking into the Garden to attempt to steal the vegetables. However, as I came to write the next couple of scenes I felt it would be more appropriate to make Gustav a thoroughly honest (if easily led) man. One who would trespass on his neighbour’s property, but only in order to see the witch in person and offer her a trade for the vegetables. This would serve a double purpose in showing his good character and clearly identifying the witch’s response as a terrible over-reaction to his behaviour.

Writing the statues as somewhat bumbling and stupid was fun and increases the impact when they casually cripple one of Gustav’s legs.

The micro-plot of the scene is as follows.

Gustav’s goal is to escape his captors and obtain some vegetables from the witch.

The animated statues have some fairly rigid programming that forms a significant obstacle to achieving his goal.

Disaster strikes when they cripple one of Gustav’s legs.

The central question/dilemma of the scene is “Will Gustav press on to see the witch or try to escape and can Gustav convince the stone statues to let him go regardless?”

Gustav’s decision is to try to convince the statues to let him go. Sadly, he fails and the witch arrives.

SCENE 2:     EXT – WITCH’S PROPERTY – NIGHT
(STATUE #1, STATUE #2, GUSTAV)

75. SOUND [15] (BACKGROUND) CRICKETS AND NIGHT NOISES – ESTABLISH AND UNDER
76. GUSTAV: BLUBBERING WITH FEAR (UNDER)
77. SOUND [16] GRINDING FOOTSTEPS OF STATUES APPROACHING AND STOP.
78. STATUE #1: (SLOW AND STUPID THROUGHOUT) Well, we caught it.
79. STATUE #2: (ONLY SLIGHTLY LESS SLOW AND STUPID THROUGHOUT) And in good order too.
80. STATUE #1: It wouldn’t have done to let it get into the vegetable garden.
81. STATUE #2: No, it would not.
82. STATUE #1: Er, Number Two?
83. STATUE #2: Yes, Number One?
84. STATUE #1: Why wouldn’t it have done to let it get into the vegetable garden?
85. STATUE #2: Because, you rock headed thing, we’re not allowed in the vegetable garden and if it got there it would have been safe from us.
86. STATUE #1: Oh. (BEAT) You’re rock headed too, you know?
87. STATUE #2: What?
88. STATUE #1: I mean to say, you’re a reanimated stone statue, just like me, so who are you to be calling me rock headed?
89. STATUE #2: Oh, for crying out loud!
90. STATUE #1: And that’s another thing. You say that a lot. I don’t think we’ve been equipped to cry.
91. STATUE #2: Oh, shut up.
92. GUSTAV: (MOANING – UNDER) Ohhh.
93. STATUE #1: (BEAT) Number Two?
94. STATUE #2: What now?
95. STATUE #1: Do they always make this much noise?
96. STATUE #2: Dunno. It’s the first time I’ve ever caught one.
97. STATUE #1: What do you think it is anyway?
98. STATUE #2: (SHRUGGING) Meh. It doesn’t look like the mistress.
99. STATUE #1: No, it’s kind of the wrong shape.
100. STATUE #2: And its hair is too short.
101. STATUE #1: Maybe we should ask it?
102. STATUE #2: Alright.
103. STATUE #1: (BEAT) Well?
104. STATUE #2: Well, what?
105. STATUE #1: Ask it, why don’t you?
106. STATUE #2: Oh, right. Um, excuse me? (BEAT) Yes, you? Would you mind stopping all that whimpering for a moment so we can ask you a question?
107. GUSTAV: (GULPS) Er, y-yes?
108. STATUE #1: Oh good. Um, now what was it? Oh, yes. (SLOWLY, AS IF SPEAKING TO A VERY DULL CHILD) What… are… you?
109. GUSTAV: I’m… I’m Esmerelda’s neighbour, Gustav… and… and I’m sure she’ll be really angry with you when she finds out you’ve treated a guest so roughly.
110. STATUE #2: Whiner!
111. STATUE #1: Yeah, we only hit you a little bit. Just until you stopped moving.
112. STATUE #2: You know, Number One, I think I know what it is?
113. STATUE #1: Really, Number Two?
114. STATUE #2: Yeah. I think it’s one of them Hoomans our mistress keeps talking about.
115. STATUE #1: Oh, really? So that’s what they look like. (BEAT) Hang on, I think I’m having a thought. (BEAT) Yeah, yeah. I’m definitely having a thought. (BEAT) Isn’t there something we’re supposed to do if we catch a hooman in here?
116. STATUE #2: Oh yeah, now that you mention it I think there is. (BEAT) Let me think.
117. STATUE #1: Oh, I have it. We’re supposed to break one of its knee-caps. Like this.
118. SOUND: [17] HORRIBLE BONE BREAKING NOISE (UNDER)
119. GUSTAV: SCREAMS IN AGONY. (OUTRAGED IN PAIN AND SHOCK) You’ve smashed my knee! I won’t be able to walk normally ever again.
120. STATUE #2: Weren’t we supposed to break both knee-caps?
121. STATUE #1: No, I’m pretty sure it was just the one.
122. GUSTAV: (GASPING) I’ve got to get out of here.
123. STATUE #2: Maybe we should break the other one, just to be sure?
124. GUSTAV: I’ll never make it back to the cottage. Not on one leg.
125. STATUE #1: I guess we could… but you know how she gets if we mess up her instructions.
126. SOUND: [18] RUSTLE OF GRASS – CONTINUE UNDER UNTIL 125 COMPLETE
127. GUSTAV: I should… be… able to crawl… to the vegetable garden… though.
128. STATUE #2: (FADING) Maybe you should go and ask her?
129. GUSTAV: .. nearly… there! (GASPS WITH RELIEF).
130. STATUE #1: (OFF MIC) Maybe we should take it to her and ask?
131. STATUE #2: (OFF MIC) Yeah, she might enjoy breaking it’s knee-caps herself. (BEAT) Hang on. Now, where’d it go?
132. STATUE #1: (OFF MIC) It’s over there.
133. STATUE #2: (OFF MIC) In the vegetable garden.
134. STATUE #1: (OFF MIC) Where we can’t get it.
135. GUSTAV: (PANTING WITH EFFORT) Okay, I’m safe for now. But how do I get out of here?
136. STATUE #2: (OFF MIC) Hey hooman? Want to crawl back out here for a minute? No?
137. STATUE #1: (OFF MIC) He’s not looking very cooperative.
138. GUSTAV: (TO HIMSELF) Maybe I can get them to go away. (TO THE STATUES) Um… excuse me… big… rocklike, er, statue-things…?
139. STATUE #1: (OFF MIC) I think it’s talking to us.
140. STATUE #2: (OFF MIC) Looks like it.
141. GUSTAV: Can I (ugh) ask you something?
142. STATUE #1: We’re just trying to decide what to do next, so if you don’t mind…
143. GUSTAV: Yes, right (ungh), but, as I’m fast going into shock, I thought perhaps I should offer to help sooner rather than later.
144. STATUE #1: Help? How?
145. GUSTAV: Well, it occurred to me that you’re supposed to keep people out of your Mistress’ vegetable garden, right?
146. STATUE #2: Yes.
147. GUSTAV: And I’ve managed to get into the (Ugh) vegetable garden?
148. STATUE #1:
149. GUSTAV: So effectively (ugh), you’ve failed.
150. STATUE #2: Well technically we did catch you…
151. GUSTAV: Yes, but technically I still got into the garden (Nnnngh!).
152. STATUE #1: Yes, technically…
153. GUSTAV: So, if we accept for a moment that you FAILED to prevent me from doing the thing you were supposed to stop me doing…
154. STATUE #2: Mmmm?
155. GUSTAV: And that (aaargh) you are probably going to get into serious trouble with your mistress because of it…
156. STATUE #1: She does have a nasty temper.
157. STATUE #2: True.
158. GUSTAV: …and that this is something you would like to (ungh) avoid…
159. STATUE #1: Oh, indeed.
160. GUSTAV: Then perhaps you could just let me go?
161. STATUE #2: What?
162. GUSTAV: Yes, you know, just let me run…
163. STATUE #2: Crawl…
164. GUSTAV: Yes, “crawl” then. Just let me crawl away. (BEAT) After all, no actual harm has been done. You’ve given me a (UGH) broken leg for my trouble…
165. STATUE #2: True.
166. GUSTAV: And no-one need ever know. What do you think?
167. STATUE #1: No.
168. STATUE #2 and GUSTAV: No?
169. STATUE #1: No. (BEAT) I’ve just remembered.
170. STATUE #2: Remembered what?
171. STATUE #1: I’ve just remembered what we’re supposed to do if something gets into the vegetable garden.
172. STATUE #2: What’s that?
173. STATUE #1: We’re supposed to call
174. STATUE #2: (SHOUTING) ES-
175. STATUE #1: (SHOUTING) MER-
176. STATUE #2: (SHOUTING) EL-
177. STATUE #1: (SHOUTING) DA!
178. SOUND: [19] RUSH OF AIR FOLLOWED BY MAGICAL CHIMES – LET IT FINISH.
179. WITCH: You called?
180. MUSIC: [20] OMINOUS SCENE ENDER – LET IT FINISH.

Writer’s Notes

In this third scene we begin raising the stakes. This is where the second act begins. More obstacles are placed in Gustav’s path (this time in the form of the witch).

The witch is introduced here, and as one of our main characters I began working on her character arc straight away.

I use this scene to establish her initial character – she is utterly self-centered and cruel. Gustav presents her with a call to change, asking her why she doesn’t help her neighbours and begging her for mercy.

The witch, though tempted for a moment, resists the change implied in Gustav’s questioning and cruelly demands his soon to be born child in payment for his life.

Gustav’s own arc is advanced here as we see him resist his own call to be decisive and courageous. Instead of making a decision he tries to buy himself some time by giving in to the witch’s demands.

The micro-plot of the scene is as follows…

Gustav’s goal is to survive his encounter with the witch.

The witch’s cruel nature is the obstacle he faces.

Disaster strikes when she demands his soon to be born baby in exchange for his life.

The dilemma Gustav faces is whether he will refuse the witch’s deal and be turned into a statue or agree to the deal (in order to buy himself some more time) but risk losing the baby.

Gustav’s decision is to accede to her demand in order to buy himself some more time to find a solution.

ACT 2

SCENE 3:     EXT. WITCH’S GARDEN – NIGHT
(ESMERELDA, GUSTAV, STATUE #1, STATUE #2)

212. SOUND [15] (BACKGROUND) CRICKETS AND NIGHT NOISES – ESTABLISH AND UNDER
213. ESMERELDA: All right, why did you two nincompoops wake me up this time? It better be good or I’ll reduce you to gravel and rake you over my garden path.
214. STATUE #1: (QUAKING WITH FEAR) Oh, no, your worshipfulness, we were just doing what you told us to. Truly, oh, Mistress of… of… of mean-ness and such.
215. STATUE #2: Yes, oh Queen of Selfishness, we were just following orders.
216. ESMERELDA: And just what orders were you following?
217. STATUE #1: (STRUGGLING TO RECITE FROM MEMORY) If something… er… came into the grounds we are to… er… stop it…
218. ESMERELDA: (FULL OF SWEET WARNING) Yes? And?
219. STATUE #2: (HURRIEDLY) And… And… we are to break one of its knee-caps…
220. ESMERELDA: (SLOWLY) Ahuh?
221. STATUE #1: I told you.
222. ESMERELDA: But that doesn’t explain why you have called me?
223. STATUE #1: Well… um… you wanted us to… to…
224. STATUE #2: To let you know…
225. STATUE #1: Yes, to let you know… to let you know if…
226. STATUE #2: (BLURTING IT OUT IN RELIEF AND MISPLACED PRIDE) To let you know if something reached the garden.
227. ESMERELDA: I see… and?
228. STATUE #1: And?
229. ESMERELDA: And, did anything reach the garden you granite headed idiot?
230. STATUE #1: Oh, yes. Yes it did. Over there.
231. ESMERELDA: (MUTTERING) Idiots! (BEAT, THEN WITH FEIGNED SWEETNESS) Now, what have we here?
232. GUSTAV: .. it’s me, Gustav, your next door neighbour.
233. ESMERELDA: You’re trespassing Gustav.
234. GUSTAV: Yes, I know but…
235. ESMERELDA: I put up signs.
236. GUSTAV: But I needed…
237. ESMERELDA: I’m pretty sure they’re still there.
238. GUSTAV: But…
239. ESMERELDA: (TO THE STATUES) They still say ‘Keep out on pain of a particularly grisly and gruesome death’ don’t they?
240. STATUE #1: I think so, your Lowness. I can’t actually read.
241. ESMERELDA: Yes, but our prisoner can, can’t you dear?
242. GUSTAV: Prisoner? Now, look here. I only came…
243. ESMERELDA: (TURNING MEAN) You only ignored my signs, climbed over my wall and trespassed all the way into my garden… (LOST IN WONDER) my beautiful, beautiful garden… (MEAN AGAIN) like the thief that I suspect you are. Why shouldn’t I deliver on that gruesome death my signs promised right here and now? I’m pretty sure you’ve got it coming. At the very least, I’m inclined to turn you into one of my statues. You’d certainly be more pleasing as a lawn ornament than as the snivelling creature you are right now. It might even be a mercy.
244. GUSTAV: (IGNORING THE THREAT) I came to ask if you could spare some vegetables. You seem to have the only garden in the entire Kingdom that is not effected by the blight.
245. ESMERELDA: (SCORNFUL) Ask? You came to ask? My minions have caught you red handed… in my garden… and you expect me to believe you came here to ask?
246. GUSTAV: I’m no thief. I was (ungh) going to offer you venison in exchange for anything you could spare.
247. ESMERELDA: Venison, yet? I hate meat. Foul stuff. Never eat it.
248. GUSTAV: (DEJECTED) Oh…
249. ESMERELDA: (ALMOST PURRING) Well, that shut you up. (BEAT) Why do you think I grow all these wonderful vegetables? I’m vegetarian. Have been ever since my cousin with the Gingerbread House got herself baked by those… (BEAT) (AHEM) well, that’s another story.
250. GUSTAV: How is it your garden is unaffected by the blight?
251. ESMERELDA: (SLOWLY – AS IF TO AN IDIOT) Because… I’m… a… witch. Magical powers? Living statues? Really high fences? (BEAT) Keeping a pesky little blight out is no problem.
252. GUSTAV: But if you can do that, you could help so many of your neighbours. You could…
253. ESMERELDA: (UTTER INCOMPREHENSION) What are you talking about? Don’t you get it? You read my signs, right? I don’t want to help my neighbours. I’m a witch. I don’t like people. I want to be left alone! It’s part of the whole witch deal. My neighbours can all starve for all I care.
254. GUSTAV: (MUTTERING) You might just get your wish.
255. ESMERELDA: What was that?
256. GUSTAV: Uh, nothing.
257. ESMERELDA: Good. Now, to decide what to do with you?
258. GUSTAV: You could let me go.
259. ESMERELDA: (DISMISSIVE) Are you still talking? (BEAT) (TO HERSELF) Actually, it’s a tempting thought.   A little positive word of mouth couldn’t hurt. I’m almost inclined to believe he didn’t just break in to steal from me.
260. GUSTAV: (PLEADING) It’s true.
261. ESMERELDA: What? Do be quiet while I’m trying to think. Oh, yes, he’s far too stupid to be anything but honest… But he was trespassing.
262. GUSTAV: (HOPEFUL) And your statues have already broken my leg for that.
263. ESMERELDA: Shut up! Still, what he says is true enough. (COMING TO A DECISION) All right! I’m prepared to give this mercy thing a try… just this once.
264. GUSTAV: Oh, thankyou. Thankyou.
265. ESMERELDA: And I really could use an apprentice…
266. GUSTAV: Thank you… What? But I’m a hunter.
267. ESMERELDA: Not you, dolt! I’m going to let you go home. Out of the goodness of my heart, I’m going to let you see that wife of yours again, wait the next couple of months until your baby is born, and then collect your baby as payment for this act of mercy. Your child will become my apprentice.
268. GUSTAV: (RELIEF TURNED TO HORROR) What?!!
269. ESMERELDA: Yes, I’ve wanted an apprentice for some time now. Someone to pass the family business on to.
270. GUSTAV: You’re not serious? You can’t just raise someone else’s child.
271. ESMERELDA: Why not? I hear people raise other people’s children all the time.
272. GUSTAV: (EXASPERATION) That’s called adoption!
273. ESMERELDA: Right. Then it’s settled. I’ll adopt her. It’s much easier than all that other stuff you have to do to get a kid. I mean look at your wife. I’ve seen smaller barns. Who has the patience for all that?
274. GUSTAV: .. but…
275. ESMERELDA: It’s settled then. Do we have an accord?
276. GUSTAV: (OUTRAGED) No!
277. ESMERELDA: What choice do you have, really?
278. GUSTAV: It will kill my wife. You just can’t be serious.
279. ESMERELDA: Oh, I’m serious. And if you don’t agree, I’ll turn you into a statue… after I have my minions break your other leg, of course. How will your pretty little wife like that?
280. GUSTAV: .. but…
281. ESMERELDA: Give me your answer. I need it from your own lips, and I don’t have all night.
282. GUSTAV: .. (BEAT) (TO HIMSELF)
     What can I do? She’ll kill me if I don’t agree. Gertrude needs me. How will she survive if I get killed? And maybe, if I agree, I can use the time before the baby is born to find a way to stop the witch. Maybe… but I won’t be able to do anything if I’m already dead.
283. ESMERELDA: .. two… one…
284. GUSTAV: All right. All right. You’ve got a deal.
285. SOUND: MAGICAL CHIMES – LET THEM FINISH.
286. ESMERELDA: Good. It is done!
287. SOUND: OMINOUS THUNDER – LET IT FINISH.
288. MUSIC: OMINOUS SCENE ENDER – LET IT FINISH.
289. MUSIC: CLOSING THEME AND CREDITS – LET IT FINISH.

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Lessons

• Lesson 1 : The Science Behind Radio
• Lesson 2 : The History of Commercial Radio
• Lesson 3 : Appreciating Radio Drama
• Lesson 4 : Reading Radio Drama Scripts
• Lesson 5 : Performing Radio Drama
• Lesson 6 : Scripting Radio Drama

Worked Example (Radio Adaptation of Rapunzel)

• Appendix : Writer’s Notes on Adapting Rapunzel for Radio
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 1, Gustav the Hunter
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 2, Kidnapping
• Example Radio Play (with writer’s notes) : Rapunzel for Schools Episode 3, Desperate Measures
• Example Radio Play with writer’s notes) : Rapunzel for Schools
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 5, Fateful Meeting
• Example Radio Play with writer’s notes) : Rapunzel for Schools Episode 6, Just Desserts

The post Rapunzel For Schools – Episode 1 – Gustav the Hunter appeared first on Host Your Own Old Time Radio Drama.