QUEST for : scifi film script

film directors continuity script

THE EARTHS END GAME
or END GAME GAMBIT

By Henryk Szubinski
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PROBLEMS BETWEEN THE rulers of the universe OF WAR AND THE KEEPER OF A GIFT WHO THE NEWLY ORDERED OWNER HAS NO WILL OR MOTIVATION TO GIVE IT UP upto the end of all ends even by the RULERS themselves destroying world after world to take it from him by way of agreement only, if not the gift looses its power

so that by taking worlds from the keeper of the power object the RULERS attempt to regain the object
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Hand over the only excuse to not be aquested to define reason for all that has its definition into

“missing Earth “as the stolen to be given over

HELL for all of this singularity kindred and left over related towards infinite

“missing water” as flows forever in the reasons to be again the same

effects and their interactions for what must always misspersist in redefined responses of this is in all ways
missing fire

the maintainement of the universal reason for the differenciations of

its only real truth for value to which infinite excuses

“missing water” this then must be the continuiim of the films continuity

this must be the full value of the reason to survive and have full fragment less on more and /or to avoid

“missing wind” that mooves beyond the wave on the intelligeble

In all cases, the subject matter x defines its limits of communicative context as in response to the totals and their

“missing Earth”

the limits are in a consequence of of the isolated score as the musical piece

related mistaken, to which the totals are in effect the full reason

“missing Earth” the action of the the mooovement to which the total

to not be as in effect to which the totals are referenced in their multiple character reasonining by its effected
non end

the active opposition of the villain as the directer of the trouble inverted perhaps and in the search for a chain reaction

“missing fire”

Into which the basics of the data on whole basis in this as the variance of the dilution motion on the basis

this then mooves the distance as being on a decimation of the villain in the script and the heroes

of everything by format in which the larger and less implicative
tonations and intonations of the half way story summary

the interdispersals of wind and fire, earth and water as a planetary element is gradually and persistantly going misssing as well as showing the continuity of each planet going totally lost one by one in a universal sense of the total dismay at what to do as well as the reasons for doing it as the half way part of each paraphrased usage of the elements water fire earth and wind

“missing wind”

the rotation of Earth is the reason by which the rotation continues to do so by similarities to a law of Ancient breakage

are bonifide to the extents of the trouble talk and rewired to infinite reasons and

“missing Earth”

to which the reasons are in motion as the reversal of the script into a person who stands for the motion to be a figurative case

their respondance in which this is a point of its lessons in learning as to to which of theese,

“missing Earth”

the super fast motion of the isolated detail in all the motion specifics as animated and in need of the total problem and its component problems as being isolated amongst the inquiry into

the totals are beyond beleif and the basic non reasons for ends to which the space and its aquired

“missing Water Earth”

the stretching of the truth of the artifact of the sequenced distance onto which walk or mooves. the opening by BROKEN and END HOLD on to your seats

EVERYTHING does not imply the ends of the this in case of all values are referenced to avoidance of end effects to also in all levels of minimalised point exit

“missing Earth Water”

the motion of two stories and their race to be outdone by the resultance of the prize ,its HOLD by way of the winner and the resultance of being immersed in Earth or water as the world turned upside down by the search for the way out

Earth is upside down as stop motion of the universe is related to the future to all intelligence.
the Earth cannot be upside down
as
“missing water and missing earth”
the power object in the hands of the hero is input into the space where the missing Earth “is not ”
and the basis of the end is
that Earth is whole again

together the elements of the movie moove and are by the edge on the story that shows the character sketches and their fall from glory as well as from the way down of the last sentences in the script.
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BACKGROUND COURTESY OF WIKIPEDIA
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Many philosophies and worldviews have a set of classical elements believed to reflect the simplest essential parts and principles of which anything consists or upon which the constitution and fundamental powers of anything are based. Most frequently, classical elements refer to ancient beliefs inspired by natural observation of the phases of matter. Historians trace the evolution of modern theory pertaining to the chemical elements, as well as chemical compounds and mixtures of natural substances to medieval, Islamic and Greek models. Many concepts once thought to be analogous, such as the Chinese Wu Xing, are now understood more figuratively.

In classical thought, the four elements Earth, Water, Air, and Fire frequently occur; sometimes including a fifth element or quintessence (after “quint” meaning “fifth”) called Aether in ancient Greece.
In Greek thought, the philosopher Aristotle added aether as the quintessence, reasoning that whereas fire, earth, air, and water were earthly and corruptible, since no changes had been perceived in the heavenly regions, the stars cannot be made out of any of the four elements but must be made of a different, unchangeable, heavenly substance.[1]
The concept of essentially the same five elements was similarly found in ancient India, where they formed a basis of analysis in both Hinduism and Buddhism. In Hinduism, particularly in an esoteric context, the four states-of-matter describe matter, and a fifth element describes that which was beyond the material world (non-matter). Similar lists existed in ancient China and Japan. In Buddhism the four great elements, to which two others are sometimes added, are not viewed as substances, but as categories of sensory experience.

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