#Pat connell | Explore Tumblr Posts and Blogs

pvrkacciosan · 2 years

Text

The Heart of the Lioness : ☽⋆3⋆☾

Crimes Of What's Right

The Heart of the Lioness Masterlist

Previous Part

Fenrys followed behind Brielle out of the training room. His body parallels to hers like the sides of a magnet.

"He'll kill you for this"

He knew she was smiling without even having to look at her face.

"Lorcan has centuries to be mad at me, he'll get over it eventually"

Fenrys reached to clasp her hand which swung at the side of her hip, his fingers wrapped tightly, holding onto the pieces of her which seem to fall apart even more each time he saw her. Brielle's hand tightened around his and Fenrys skipped a step or two to get in line with her,

"what if Maeve sees?" words a whisper in the air.

Fenrys tried not to let his panic spike at her words, she hadn't turned to look at him when she spoke, trying to keep away the attention of anyone who may be watching. They all knew of how Gavriel lost contact with someone he believed to be his mate, all to keep her safe and far away from the reaches of Maeve. Fenrys didn't have that choice, couldn't make that choice not when Brielle was here with him. Bearing witness to everything Maeve had her do. She needed him, even if she did not voice it.

They rounded a corner of the hallway, a few people were at the end, they dropped their hands, the soldiers'bodies snapped into attention when they passed.

"I don't know how much longer I can keep this up Fen"

Her words were hollow, voice broken and when she looked at him, in that moment all he wanted to do was hold her as tight as their bodies would prohibit. His hand found hers once more, pulling them both to a stop. Checking the hallway quickly— the soldier had walked off already.

Tugging her closer by a hand at her waist, clung to the waistband of her training wear, Fenrys looked down at her, head only slightly inclined. Brielle sighed into the space between them, closing her eyes which looked far too heavy to keep open she leaned into his warmth and pressed her forehead to his.

Fenrys closed his eyes over as well, if someone walked into them he couldn't care less right now in this moment, because everything was well... perfect— she was perfect.

In this moment Maeve could not get them, the blood oaths did not exist, the tension stringing across the two continents was loosening, and Fenrys had already claimed Brielle to be his, in every way possible and in every way that mattered.

"We shall just endure it a little while longer"

Brielle's responding sigh was heavier than before, she bit into her lower lip and a muscle twitched, as though she were holding in a wall of emotion, a damn of water trying to break out. It hurt him so to see her not open herself in front of him, but she still had things to do.

"Perhaps Aelin of the Wildfire may be able to help us one day" Fenrys knew his words were a stretch, what use would the young queen have for any of them? She already had Rowan and was free of Maeve for now. Though he held out hope, even if it was only a little bit, if not to save him, but at least his brothers and mate.

A pair of footsteps began their way towards them, and some part of him resisted the urge to pull away from Brielle when he could feel her body fighting itself as well. But upon instinct their bodies separated once more, only just in time before Gavriel and Connell appeared at the end of the dimly lit walkway towards their personal quarters.

"Did we interrupt something?" Connell asked the same time Gavriel muttered

"Please do not mount my sister so quickly, she only just got back" his brow was pinched as he took in their rigid stances and Fenrys couldn't help himself as he replied.

"I find it amusing how you assume it's me who does all the mounting"

Gavriel's usually tan faced seemed to change to three different shades of pink in the span of a few seconds, Connell snorted a quick laugh and patted Gavriel on the shoulder before making his way off towards his own quarters. Fenrys watched his twin leave but said nothing, even though he longed to.

Brielle was smiling now, a sight that set Fenrys slightly more at ease,

"Oh do loosen up brother you're not dumb" she began to walk and both males followed on either side, keeping a healthy distance between each other, "And besides we're a lot more alike then you may think"

Gavriel seemed to be looking at anything but him and his sister, a picture which had Fenrys laughing silently from beside Brielle,

"No dear sister I don't think we are" the female turned over her shoulder, just enough for even Fenrys to notice the clipped smirk on her lips, which vanished a fraction before they reached the door to her room.

She swung the door open to find two familiar figures already waiting inside.

Teyra leapt up from Brielle's bed which despite not having her in it for a while was still a mess of ruffled blankets and excess pillows. Fenrys didn't doubt Brielle knew it had been him who had been taking up residence in her bed since she left. If only to hold onto the sense of her while she was gone.

The other female skipped across the room until she was close enough to actually throw herself at Brielle. Fenrys and Gavriel took this as their queue and wandered over to Isaiah who was lent into a standing wardrobe in the corner, beside her private washroom.

Gavriel started a quick conversation with the quiet male as Fenrys turned and tuned out their words to watch Brielle as she returned Teyra's embrace and was quickly dragged over to the bed only for her to be tackled backwards onto the mattress, the two females now a tangle of long limbs and loose hair.

Their laughter drew the attention of the other two males, who halted conversation to watch the reunion. The two figures on the bed both continued to laugh and whisper away amongst each other and their hug seemed endless and Fenrys would have loved nothing more then to watch the female who had flipped his life upside down since the moment they met to continue to be happy but there was a reason two of her most trusted sentries were here, and they must attend to that matter.

He was just glad it wasn't him who broke the bubble of warmth the two had built around themselves for their reunion however brief it was destined to be. Isaiah walked a step forward.

Fenrys looked the male up and down, he was a few centuries younger than them all but yet he held himself in high regard, Fenrys had great respect for him for he had managed to do the one thing he could not. From what Fenrys had heard from Brielle Isaiah had a wondrous mate and children, despite the Fae struggle to reproduce Isaiah seemed to have no trouble with his four children all within a decade of each other's ages.

He cleared his throat and the duo on the bed stopped moving, Teyra's head popping up from their bundle a second before Brielle's both their hair went wild and faces flushed with warmth.

Isaiah gave Teyra a quick gesture and look, the females grunted before they began to untangle themselves. When Teyra sat up, her lengthy dark hair cascading down at her side, she pointed a finger in Fenrys's direction. He lifted a brow,

"If you don't wife her up I might steal her from you"

He gulped, "Duly noted" he gave a small two finger salute to her, she cracked a smile which heeded just as much warning as her words. Fenrys tried to not let his expression display his slight panic.

Brielle ungracefully clamoured off from the bed, almost falling in her efforts as her ankle got snagged in a sheet of bedding. Throwing her arms out to try and catch herself, Brielle managed to correct her balance by shaking the blanket from her foot. Straightening her core and flicking back a stray piece of hair Brielle looked at them all.

"Right tell me about these reports"

Teyra tensed, Isaiah moved to sit next to her, Brielle turned to look at them both, Fenrys and Gavriel stayed where they were next to the wardrobe, they had learned their lessons before in not getting in the middle of her business. Fenrys could still remember the telling off they had received, he hadn't felt so young in such a long time and in those moments of her getting mad he felt as close as he was going to get to being young and being told off by his mother again.

"The latest group didn't make it across" Isaiah said from his place beside Teyra, the female at his side peaked up a shimmer of shame flashing in her deep blue eyes, she was wary of disappointing her commander.

"We were overseeing their transport ourselves but there were these soldiers..." she shook her head and Isaiah reached to clasp her hand when Teyra choked on her words "They were... dark— different" Isaiah finished for her.

Brielle's shoulders were stiff and she soothed over their words, her two sentries awaited her response or reaction.

"They hadn't used magic in so long, they struggled to defend themselves" Isaiah added referring to the group that had all lost their lives during the attack.

The air around them seemed far too thick to breath in, and the seconds dragged sending a side glance to Gavriel Fenrys wasn't surprised when he looked ready to jump in and help his sister at any given moment. They didn't have to wait a second longer as Brielle finally spoke.

"At least you two are okay"

"I wouldn't use the word 'okay'" Teyra said,

"Surviving better suits" Isaiah finished,

"Those... things" Teyra breathed giving another shake of her head, "They looked human, but were anything but that, we couldn't save any of those we travelled with"

Brielle started towards the female on the bed, Teyra rose as her commander approached, and as she began to sob Brielle hugged her tightly, the sheer pressure of the embrace turning her muscle white with pressure, and so she squeezed her friend.

"Some were children" Fenrys was not sure how the words had managed to get past the clot which had undoubtedly formed in Teyra's throat.

The room was silent as Teyra cried, there was not a single hint of shame with this, they had all cried for moments of this. Gavriel had tattoos for those he had lost, and Brielle would spend a day in silence for every soul she lost whilst they were under her care. Fenrys was sure this would be no different.

The two females finally pulled apart and Brielle held Teyra by the shoulder,

"And you're sure Maeve hasn't caught onto anything"

"Positive" Isaiah responded quickly from his place and still rested on the bed.

"Good" was her only response.

Teyra spent another few minutes crying in the arms of her commander and friend before she and Isaiah took their leave, Leaving Brielle alone with the wolf and Lion of Doranelle. The three of them rested on her bed, it was a little cramped with the males full sizes but that was just how Brielle liked it.

She sat up, with Fenrys curled around her back, Gavriel laid along the bottom of the bed with his head propped up with a hand.

"It wasn't your fault, no one could have predicted those things would show up, you cannot blame yourself for this" Fenrys spoke sitting up to press his lips to the skin of her shoulder, while he pulled back the collar of her shirt.

Gavriel averted his eyes from the sight but patted his sister on the lower leg,

"You have spent years helping them all get out, surely the lives saved outweigh those lost"

Her silence was a deafening response, they shared a look, if time was what she needed then they would grant her that, but they would both be here for her, Damn if he knew, Lorcan would even be here for her. Despite his demeanor the other male would do anything she asked even if it was a request for a hug. He would do so begrudgingly but would do it regardless.

"You did what was right, getting those people out"

Brielle cast her gaze up from the pillow she fidgeted with, "did I?"

"I helped them escape a king only to lead them into the land of our queen, I'm not sure which is worse, perhaps doing the right thing now is simply a crime" she looked to them both, Gavriel first then turning to Fenrys, "and I'm not sure if I regret committing it or not"

Her words hung in silence.

"You helped those people when no one else would, not even our queen, When their homes turned hostile and they started to turn on each other, You gave them a way out. No one faults you for doing what was right, even if you think such acts are a crime" Gavriel said sharply, his sister looked to him, like glancing into his own eyes, a mirror of his own it cracked his heart in two when a tear slid down the bone of her cheek.

She didn't sob, or even make a sound, but the tears kept coming and it was in her face that it became clear to him that she was trying to fight them, if it was for their sake he was going to kick her ass in training next time they sparred but for this moment Gavriel did and became the thing she needed him to be right now.

Simply her brother.

Propping himself up he moved across the bed to wrap arms around his little sister, Gavriel didn't move as Fenrys wrapped around her from behind.

If anyone came into the room now they would find two of the most powerful Fae males on the Continent cocooning a smaller figure between them, protecting her from everything even if it was at the cost of their own lives.

None of them kept track of how long they sat like that, but eventually Gavriel left and Fenrys stayed by her side, until she willed him away, but she uttered no such words, so they simply lay awake staring into the darkening room surrounding them.

It was silent until Fenrys began to chuckle, Brielle still said nothing as she went to look at him with a quirked eyebrow in question.

"Lorcan" was all he said

Brielle cursed and began to sit up, but Fenrys was quick to snatch her around the waist and pull her back into him, he would be damned if Lorcan, despite him probably still being stuck downstairs, he wouldn't allow this rare moment between him and his mate to be interrupted.

"The old bastard could use the time to cool off" he tucked his arm around her securely, leaning up on his elbow he looked over her shoulder to gaze down at her face.

She was a wonderful sight to witness.

Without thinking he leaned down to capture her lips in a full kiss, Brielle pushed herself into it, a hand coming up to cup her mate's face. Fenrys pulled away with a smirk,

"And what's a few more hours anyway?"

Brielle was finally smiling again by the time he leaned back down to kiss her.

Once more Lorcan tried to shimmy into finding some crack in the wall of her magic, but no, it was still the same as it had been the last time he checked. Giving a low growl of discontentment, he squinted when a small candle light began to urge towards the now cold, dark and very much empty training room.

Connell appeared with a small bowl of steaming foot in hand, a grin on his face.

"Fuck off" Lorcan growled

Connell paused by the archway frowning,

"Still snappy I see," he continued towards Lorcan, placing the small wooden bowl down, he smelt the warm freshly cooked bread a second before he spotted it. Connell went to move to feed Lorcan.

But he paused.

"You're not going to bite me are you? You look like you bite"

Lorcan glared at him,

Connell nodded before putting everything down in front of Lorcan, damn his knees were really beginning to go numb. Then Connell left, Lorcan wanted to call out for the male to come back and help him reach the food, but he couldn't let it get passed is pride.

So for the rest of the night, Lorcan watched the bowl of food and fresh bread, as they began to cool. He couldn't do much else, so wait he did.

. . .

Taglist: @dreamiezpsycho @rbdmaniacapotter (if you wish to be added or removed just ask)

Next Part

#throne of glass #fenrys moonbeam #fenrys x o.c #empire of storms #tower of dawn #kingdom of ash #aelin #gavriel #rowan #sarah j mass #throne of glass fanfic #throne of glass fanfiction

12 notes · View notes

onlydreamofmysoul · 4 years

Text

Wanna Be Kissed (Wolfstar)

Okay! So I’ve decided to start bringing some of my fics from Ao3 over here, mostly because I think it makes it a lil easier for people to find! Here’s the first one anyways! (Side note - any remus/sirius transferred will be wolfstar, not coops)

Sirius Black has never kissed a girl. In fact, Sirius Black has never kissed anyone, ever.

It’s not that the opportunity hadn’t presented itself, because Merlin, it had. Sirius was infamous in Hogwarts, the brooding Black boy, the first to not be sorted into Slytherin. The boy who ran away from home. The leather jacket wearing, wild haired, grey eyed mystery man.

Apparently girls were into that, if Sirius’s friends were to be trusted.

“What about Lucy Lancaster?” Peter whispered as the Marauders sat curled up in a corner, their corner, of the Gryffindor common room.

Sirius furrowed his eyebrows, looking across the room to the blonde girl in question. “The fourth year?”

Peter nodded, “Yeah, I mean, she’s only one year younger than us and she’s really pretty and smart.” He gushed.

Sirius looked over at his friend. “I think she sounds more like your kind of girl Wormy.” He said, standing up and moving to sit closer to the fire, grabbing his book off the coffee table as he went. He curled up on the cushy red sofa, but had barely opened the book to the latest page when James Potter himself flopped down next to him.

“I know there’s someone you fancy.”

Sirius didn’t look up from his book. “Do you now?” He didn’t need to look at James to know his friend was flushing a little red.

“Okay well, I don’t know.” He admitted. “But I do suspect.”

Sirius met his eyes, amused. “There’s a fair bit of a difference between knowing and suspecting Prongs. For example, I know that you’re one hundred percent head-over-heels in love with Lily Evans, but I only suspect that you were the one who put itching powder in Lucius Malfoy’s quidditch robes.”

“It wasn’t me.” James grumbled and continued when Sirius looked at him disbelievingly. “Really it wasn’t. That’s not my style… anymore.”

Sirius laughed, patting him on the shoulder. “Yeah I know, Evans wouldn’t approve.”

“Yeah but also I just think we’re a bit too mature for stuff like itching powder when our time could be much more productively dedicated to tasks such as perfecting the map.”

Both boys sighed longingly. The map, their pride and joy. It wasn’t quite perfect yet - they still had a few passages to fill in, but it was getting pretty close.

James shifted in his seat to face Sirius properly, and Sirius mirrored his movements.

“In all seriousness though Pads, you know you can talk to me, right?”

Sirius smiled at his friend in a way that he could only pray was reassuring and nodded. “Of course I know James. I promise if there was anything to know, I would tell you.”

James nodded and stood up. “Good. Okay, I’ll uh, leave you to your reading.”

James retreated back to the others and Sirius watched him go, watched him sit down next to Remus. Watched as Remus offered him a chocolate frog.

Sirius hadn’t been lying to James, unless you counted a lie of omission. There really was nothing to tell - nothing had happened per se. Nothing had happened… recently. Because Sirius Black had been in love with Remus Lupin for a long time.

Remus-motherfucking-Lupin. The bane of Sirius’s existence. The love of Sirius’s life. He had known for years. Known that the love he felt for James and Peter was very, very different to the love he felt for Remus. He didn’t imagine James kissing him. He didn’t take a deep breath whenever Peter hugged him, trying to memorise his scent. So yeah, Sirius has never kissed anyone, simply because it wouldn’t be fair. Not to anyone. Not when Sirius’s heart was no longer his own to give away.

“Pads, we’re playing exploding snap, do you wanna join?” Remus called from where they were all laughing and Sirius sighed, already standing up. He’d never been able to say no to his tawny haired friend.

“Deal me in.”

****

“Fuck!”

Sirius’s head whipped up at the sound of Remus cursing. “Moons?” He called, swinging his legs off the side of his bed and drawing back his curtains, “Are you okay?”

Remus sat on his own bed, a dripping mug in his hand. “Yeah sorry,” he grumbled. “I’m just a twat, I spilled my tea all over myself.”

Sirius but his lip laughing even as he grabbed his wand and spelled away the puddle on the floor. Remus caught the back of his t-shirt and pulled it off over his head in one swift movement that took Sirius’s breath away.

“I cast a cleaning charm.” Sirius stuttered uselessly, his eyes focused on Remus’s lightly tanned skin, the faint whisper of shining scars that moved as Remus stood up.

“I know.” Remus shrugged and Sirius just gazed at those powerful shoulders. “But I still feel it, you know? I just need a new shirt.”

Sirius nodded helplessly as Remus walked to the trunk at the end of his bed and pulled out another shirt. Sirius thanked Merlin that the other boy was faced away from him because there was no way he could disguise his gawking at the dips of Remus’s shoulder blades, the curved run of his spine. Fuck, Sirius would give anything to trace his fingers over that soft skin.

Remus tugged the shirt over his head and crawled back onto his bed leisurely. Sirius’s heart rate was anything but. Everyone assumed that Remus was super scrawny, and they had been right, at least at first. When Remus had arrived at Hogwarts, that’s exactly what he had been - a stick thin little boy with big caramel eyes. But a wonderful combination of a solid three meals a day, a growth spurt and having to stay fit in order to help him recover from his monthly adventures had resulted in Remus Lupin looking like he starred in wet dreams.

(Never mind the fact that he starred in all of Sirius’s dreams).

“G’night guys.” Peter called from behind his curtains, the rest of the Marauders chorused a sleepy response and once again, the dorm room was silent, unlike Sirius’s brain. No, his traitorous thoughts just kept thinking about what it would be like to make Remus shout ‘fuck’ again in a non-tea related incident.

(They were some pretty good thoughts).

****

“Hey Sirius.”

Sirius looked up from his breakfast to see Anna O’ Connell sliding onto the bench next to him.

“Hi?”

“There’s a trip to Hogsmeade today.”

“Yeah, I know.”

Sirius couldn’t quite decipher the look on Anna’s face at his response.

“So… are you going?” She asked, reaching forward and touching Sirius’s wrist lightly. Sirius looked over at the other Marauders who had all stopped eating to listen in.

“Yeah we’re all going.” Sirius said nodding his head at the others. “Aren’t we lads?”

Sirius could see James looking at him with wide eyes and a ‘what the hell are you doing?’ expression and Remus wasn’t looking at him at all. Peter looked nervously between Anna and Sirius for a moment before nodding. “Yeah we are.”

“Oh right, yeah okay.” Anna said, beginning to stand up. “I guess I might see you there so.”

Sirius shrugged. “I guess so.”

Anna walked away and before she was even out of hearing range, James punched his shoulder not-so-lightly. “Mate, what the hell?”

Sirius rubber his throbbing arm. “What was that for?”

“She was obviously asking you out!”

Sirius choked on his pumpkin juice. “Well apparently it wasn’t that obvious, cause I didn't know about it.”

Remus finally met his eyes, wincing slightly. “It was pretty blatant.”

Sirius sighed and slumped forward, resting his head in his hands. “Oh my god I’m so dumb.”

James nodded in agreement. “Yeah you are. But if you went after her now and just explained what happened I’m sure she’ll still go out with you.”

Sirius shook his head. “No I don’t want to go out with her. I just wish I could tell when people are asking me out. I feel like it’s probably something I should be aware of.”

Remus smirked and Sirius’s gut twisted. He loved that little twitch of the other boys lips. “Probably.”

Peter patted Sirius’s shoulder sympathetically. “Don’t worry about it Pads, I’m sure you’ll get it the next time.”

Sirius just stared down at his now-cold toast. “Yeah.” He mumbled. “Next time.”

Sirius sat down on his bed and fell back dramatically, staring up at the rafters of the dorm. His radar for girls asking him out had not improved, according to his friends a grand total of five girls approached him that week alone. He had only known one of them asked him out on a date.

(That was only because she said “Hey, wanna go on a date with me?”)

He had politely declined.

Sirius sighed and grabbed his little red ball he kept on his locker and threw it up in the air as he lay on the bed, finding the steady rise and fall soothing. Most of Gryffindor, most of the castle really, were all outdoors enjoying the first properly sunny day in a long while. He knew if he looked out the window, he could probably spot James, Peter and Remus all sitting under the oak tree they tended to frequent.

There was a knock on the door. “Sirius?” Remus asked, poking his head in.

Or maybe Sirius wouldn’t find them all outside after all.

“Hey.” Sirius said, stopping throwing the ball but not sitting up.

Remus lay down next to him. On the small bed, their shoulders were pressing together and Sirius could feel the heat radiating off the other boy.

“Why aren’t you outside?”

Sirius shrugged. “Just wanted to think I guess.”

“Will I leave you alone?”

If it had been anyone else asking? Yes, Sirius wanted to be alone. But for Remus?

“No, you can stay.”

Sirius resumed throwing the ball, every so often passing it to Remus to give him a go. They lay side by side in silence for several minutes before Remus spoke again.

“Hey Pads? Could I… ask you something?”

Sirius turned his head slightly just for a second to glance at him. “You can ask me anything.”

Out of the corner of his eye he could see Remus biting his lip for a moment as if choosing his words carefully.

“Why do you… why do you never say yes to any of those girls?”

Sirius’s heart stuttered for a moment but he took a steadying breath. “I just don’t fancy any of them.”

“But isn’t that the point of dating? To see if you could maybe fancy someone?”

Sirius laughed nervously. “I guess I wouldn’t know. I’ve never been on a date.”

Remus fiddled with the fraying cuff of his jumper. “Yeah me neither.”

They were quiet again for a moment before Remus started talking again. “Do you think you’ll ever ask one of them out?”

“The girls?”

“Yeah.”

Sirius shook his head. “No.”

“Why not?”

“Because it wouldn’t be fair.”

Remus huffed our a breath. “Come on Pads, that’s a non-answer.”

Sirius rolled his eyes at the typical Remus response, but his lips twitched. “I don’t fancy girls.”

He held his breath, waiting for Remus’s response. He didn’t think it would be bad exactly - he knew his friends! He knew he could trust them, he knew they loved him but sometimes no matter how much logic dictates otherwise, a tiny inkling of doubt can creep in.

“I’m not so sure I do either.”

Sirius wasn’t sure what kind of response he was expecting but it definitely was not that. He turned his head to see Moony already staring at him. They didn’t say anything - they didn’t need to, the look that flashed between them said enough. A quiet understanding. Remus’s lips quirked and Sirius’s eyes followed the movement before they resumed speaking.

“So is there a guy you fancy?”

Fuck this was dangerous territory. But Sirius couldn’t lie, not to Remus.

“Yeah.”

This time it was Remus who rolled his eyes. “Wow that was so descriptive.”

Sirius’s eyebrow arched. “It was a yes or no question.”

Remus huffed. “Fine, fine, don’t tell me.”

Sirius bit his lip. And rolled onto his side to face Remus. The taller boy did the same. “I don’t just fancy him, I’m in love with him.”

Remus’s breathing sounded uneven. “He must be incredible if you feel that way.”

It felt like there was an elephant standing on Sirius’s chest. “Merlin yes. He’s kind and thoughtful and I could get lost in his eyes forever. He runs his fingers through his hair when he’s thinking, when he’s studying I know he bites the top of his quill even though he denies it and when he’s nervous he plays with the cuffs on his jumper and it’s so cute and I -“

Sirius cut off as Remus’s hands stilled. Hands that had been fiddling with the cuff of his jumper.

“-And he’s one of my best friends in the entire world. He’s brave and strong and the best person I know. I would do anything for him.”

Remus stared into his eyes for, Sirius couldn’t even tell how long. It could have been seconds or hours but to be frank, Sirius couldn’t give a fuck either way. Remus’s honey eyes had flecks of dark brown in them and all Sirius wanted to do was map the splash of freckles on his nose. Remus bit his lip so hard Sirius was nearly worried he’d draw blood before his eyes became steadier, more decided. Sirius watched as Remus’s chest rose unsteadily as he took a breath.

“He’d do anything for you too.”

And fuck if Sirius didn’t want to cry. Or jump around laughing. Or shout with delight from the tower. But most of all, he wanted Remus.

Cautiously, so cautiously, he reached his hand out and traced the cheekbones he had so often admired, Remus shivering lightly under his touch. His hand dropped lower as he ran his thumb over Remus’s ever so slightly parted lips, able to feel his hot breath on his skin.

“Are you ever going to kiss me or am I going to have to do it myself?”

“Merlin, I love you.” Sirius breathed before doing exactly that. He leaned down and connected their lips, at first, just a bare brush, Sirius was being so careful, waiting to see if Moony would decide that, actually no, he wouldn’t be making out with one of his best mates today, but that never happened. Instead, Remus tangled one hand in Sirius’s hair and wrapped the other tightly around his waist.

“Kiss me properly you wanker.” Remus demanded and Sirius smirked before pressing his lips against Remus’s and for a moment, that was all he knew. The world could have exploded but all Sirius would have registered was the hot force of Remus’s lips on his own, the fingers curling in his hair and the hand pressing steadily into his waist.

They pulled away gasping, Sirius looking at Remus’s swollen lips with a smug delight. He had always wondered what Remus would look like after a good snog. Now he knew.

“I love you too.” Remus said simply, cupping Sirius’s jaw in his hand and caressing thumb over Sirius’s cheekbone. Sirius’s heart just about exploded and he quickly leaned down to reconnect their lips, gasping as he felt Moony’s leg wrap tightly around his waist and he pressed himself impossibly closer.

“I love you.” He murmured against Remus’s lips. “I love you, I love you, I love you.”

Sirius has never kissed a girl. But he has kissed someone. The best someone in his opinion. The only someone really. Remus-motherfucking-Lupin; no longer the bane of Sirius’s existence.

(But still the love of his life).

#wolfstar #Remus Lupin #Sirius Black #wolfstar oneshot #Remus Lupin/Sirius Black #Marauders #marauders era fanfiction #marauders era #hogwarts #James Potter #peter pettigrew #ao3 OpeningMyEyes #remus lupin #sirius black

554 notes · View notes

weedhorse69 · 3 years

Text

Match for Partner#1Match for Partner#2From universe

Satine (64.183%)Christian (76.357%)Moulin Rouge!

Chandler Bing (63.700%)Monica Geller (75.457%)Friends

Elliot Reid (68.766%)John Michael Dorian (70.341%)Scrubs

Mia Dolan (71.171%)Sebastian Wilder (67.426%)La La Land

Nino Quincampoix (72.580%)Amélie Poulain (65.526%)Amélie

Emily Gardner (69.479%)Kumail Nanjiani (67.926%)The Big Sick

Amy Sosa (68.973%)Jonah Simms (67.102%)Superstore

Bella Swan (65.321%)Edward Cullen (70.540%)Twilight

Sam Button (72.200%)Charlie Kelmeckis (62.138%)The Perks of Being a Wallflower

The Narrator (75.204%)Marla Singer (58.882%)Fight Club

Calvin Weir-Fields (72.295%)Ruby Tiffany Sparks (61.542%)Ruby Sparks

Drew Baylor (72.457%)Claire Colburn (61.278%)Elizabethtown

Connell (63.749%)Marianne (69.314%)Normal People

Prince Hamlet (62.704%)Ophelia (69.075%)Hamlet

Nick Miller (70.981%)Jess Day (60.196%)New Girl

Tiffany Maxwell (63.448%)Pat Solitano (67.561%)Silver Linings Playbook

Annie Hall (72.474%)Alvy Singer (58.464%)Annie Hall

Daisy Buchanan (71.003%)Jay Gatsby (59.701%)The Great Gatsby

Joel Barish (69.830%)Clementine Kruczynski (60.338%)Eternal Sunshine of the Spotless Mind

Debora (73.736%)Baby (56.124%)Baby Driver

Hughie Campbell (66.380%)Annie January (63.427%)The Boys

Simon Tam (64.330%)Kaylee Frye (65.429%)Firefly + Serenity

Jack Maine (56.280%)Ally Maine (73.296%)A Star Is Born

Jesse Pinkman (67.339%)Jane Margolis (61.983%)Breaking Bad

Hazel Grace Lancaster (61.532%)Augustus 'Gus' Waters (66.909%)The Fault in Our Stars

Rita (71.379%)Betty Elms (56.564%)Mulholland Drive

Marianne (60.047%)Heloise (67.601%)Portrait of a Lady on Fire

Summer Finn (75.252%)Tom Hansen (52.344%)(500) Days of Summer

Abbi Abrams (72.208%)Lincoln Rice (54.842%)Broad City

Sam Baldwin (59.007%)Annie Reed (67.879%)Sleepless in Seattle

Monica Gaztambide (67.874%)Denver (58.495%)Money Heist

Tokio (57.940%)Rio (68.423%)Money Heist

Bianca Stratford (72.295%)Cameron James (53.641%)10 Things I Hate About You

Philip J. Fry (60.567%)Turanga Leela (65.197%)Futurama

Josh Lyman (61.539%)Donna Moss (64.127%)The West Wing

Sara Tancredi (61.004%)Michael Scofield (64.638%)Prison Break

Ann Perkins (62.662%)Chris Traeger (62.793%)Parks and Recreation

Romeo Montague (57.727%)Juliet Capulet (67.510%)Romeo and Juliet

Evan (71.647%)Becca (53.496%)Superbad

Anastasia Steele (66.061%)Christian Grey (59.021%)Fifty Shades of Grey

Eric Forman (70.276%)Donna Pinciotti (54.143%)That 70's Show

Dean Forester (66.355%)Rory Gilmore (57.887%)Gilmore Girls

Alexander Hamilton (58.124%)Eliza Hamilton (66.095%)Hamilton

Holly Golightly (61.276%)Paul Varjak (62.561%)Breakfast at Tiffany's

Ben Wyatt (59.623%)Leslie Knope (64.150%)Parks and Recreation

Céline (65.698%)Jesse (57.979%)Before Sunrise

Jennifer Parker (67.222%)Marty McFly (56.377%)Back to the Future

Johnny Castle (67.037%)Frances 'Baby' Houseman (56.264%)Dirty Dancing

Dom Cobb (64.355%)Mal Cobb (58.902%)Inception

Jenny Curran (56.425%)Forrest Gump (66.441%)Forrest Gump

Howard Wolowitz (67.300%)Bernadette Rostenkowski (55.558%)The Big Bang Theory

Wichita (66.286%)Columbus (56.321%)Zombieland

Harry Burns (68.931%)Sally Albright (53.549%)When Harry Met Sally...

Chip Dove (63.919%)Anita 'Needy' Lesnicki (58.326%)Jennifer's Body

Jin-Soo Kwon (61.573%)Sun-Hwa Kwon (60.638%)LOST

Elisa Esposito (61.268%)The Amphibian Man (60.933%)The Shape of Water

Aladdin (57.750%)Jasmine (64.341%)Aladdin

Benjamin Button (55.845%)Daisy Fuller (66.000%)The Curious Case of Benjamin Button

Becca Butcher (54.440%)Billy Butcher (67.378%)The Boys

Will Hunting (60.981%)Skylar (60.544%)Good Will Hunting

Angel (60.979%)Buffy Summers (60.510%)Buffy the Vampire Slayer

Penny (67.686%)Leonard Hofstadter (53.735%)The Big Bang Theory

Jo March (55.433%)Theodore Laurence (65.882%)Little Women

Ilsa Lund (55.982%)Rick Blaine (65.248%)Casablanca

Mike Ross (59.331%)Rachel Zane (61.757%)Suits

Marshall Eriksen (56.379%)Lily Aldrin (64.586%)How I Met Your Mother

Daisy Mason (56.693%)William Mason (64.177%)Downton Abbey

Sailor Moon (60.472%)Tuxedo Mask (59.999%)Sailor Moon

Edward Fairfax Rochester (60.009%)Jane Eyre (60.260%)Jane Eyre

Ennis Del Mar (57.371%)Jack Twist (62.592%)Brokeback Mountain

Eleanor Shellstrop (54.978%)Chidi Anagonye (64.803%)The Good Place

Lindsay Bluth Funke (51.798%)Tobias Funke (67.953%)Arrested Development

Colonel Brandon (65.991%)Marianne Dashwood (53.190%)Sense and Sensibility

Elizabeth Swann (64.042%)Will Turner (55.021%)Pirates of the Caribbean

Charles Bingley (54.771%)Jane Bennet (64.183%)Pride and Prejudice

Elinor Dashwood (54.951%)Edward Ferrars (63.998%)Sense and Sensibility

Claire Dunphy (56.520%)Phil Dunphy (61.978%)Modern Family

Cece Parekh (63.696%)Schmidt (54.750%)New Girl

Tess Ocean (59.761%)Danny Ocean (58.684%)Ocean's 11

Beast (58.877%)Belle (59.347%)Beauty and the Beast

Piper Chapman (70.597%)Alex Vause (47.387%)Orange is the New Black

Sutter Keely (53.197%)Aimee Finecky (64.717%)The Spectacular Now

Trinity (62.007%)Neo (55.737%)The Matrix

Rya

#long post

2 notes · View notes

mariocki · 5 years

Text

Doomwatch: The Devil's Sweets (1.7, BBC, 1970)

"You are conditioning them to react to, um, a chequerboard stimuli."

"Yes."

"With food reward?"

"Yes."

"How traditional. Well, hardly experimental."

"Pavlovian psychology was never a dead end! It's not just the nibble and the bell, the rat lost in a maze..."

"More advanced."

"Obviously."

"Mmm, obviously."

#doomwatch #The Devil's sweets #1970 #classic tv #Bbc #John Paul #Simon oates #Wendy hall #robert powell #Joby blanshard #Maurice roëves #William fox #john young #John law #Pamela sholto #Penny dixon #Bay white #John comer #Mary loughran #Pat connell #Beryl Bainbridge #Don shaw #David proudfoot #Wendy hall is finally given something more to do than make the tea and take calls. She actually gets a bit of plot this week!#Unfortunately that plot involves her being unconscious for quite a lot of the second half of the episode. Swings and roundabouts i guess #This one feels a bit rough around the edges. What exactly was the drug that caused the bad reaction (as it wasn't what Doomwatch initially #Thought)? Or did i miss that? Where did the irresponsible scientist of the week get to when he ran off? Still it's very topical and maurice #Roëves wears a see thru shirt that has to be seen to be believed. Quist is a bit of a bastard here and there are hints that with Doomwatch #Sometimes the ends will justify the means...a worrying thought considering that's exactly the sort of thing they're in place to critique

4 notes · View notes

stairnaheireann · 11 months

Text

Biddy Early | Witch or Wise Woman

Legend would have it that Biddy was an entity worth fearing. She had four husbands and outlived them all. She had a magic glass bottle that she used to foretell deaths and disasters. Her fury could freeze a horse in its tracks; in a good mood she could save you or your prized livestock from death’s door. Most notoriously of all, to her fellow county folk anyway, she allegedly put a curse on the…

View On WordPress

17 notes · View notes

new-sandrafilter · 4 years

Text

Timothée Chalamet and Eileen Atkins Interview - British Vogue May 2020

“Maybe your knuckles weren’t bleeding, but there was ice,” Timothée Chalamet tells Dame Eileen Atkins. He is recounting, with no small amount of awe, how he first came to hear of the legendary 85-year-old actor with whom he is about to appear at The Old Vic. It transpires that Oscar Isaac, Chalamet’s co-star in the upcoming blockbuster Dune, was at the receiving end of Atkins’ fist in Ridley Scott’s Robin Hood (all in the name of acting, of course). Chalamet was duly impressed.

“I gave him the worst time of his life,” says Atkins, bristling at the memory, before merrily launching into several candid, very dame-like stories from her time on set – “That was a nightmare movie. A nightmare.”

It is a Saturday afternoon in late February, and the two actors – one a titan of British theatre with an eight-decade career; the other, Hollywood’s most in-demand young leading man, with an insatiable Instagram following – have just finished being photographed together for Vogue. Chalamet, 24, in louche, low-slung denim and a white T-shirt, has folded his Bambi limbs into a chair next to Atkins, whose hawkish frame, in a navy jumper and jeans, belies her 85 years.

“Do you like being called Tim or Timothée or what?” Atkins asks in her warm but brisk RP, all trace of her Tottenham upbringing erased.

“Whatever works,” he replies in a bright American accent, that shock of chestnut hair falling into his eyes. “Anything.”

“So you won’t object to ‘darling’? I call everyone darling. I’m told I mustn’t say it these days.” He assures her he is fine with it: “It’s a rite of passage, being called darling by Dame Eileen Atkins.”

“You always, always, have to put the dame in, otherwise you can’t address me,” she jokes.

It’s good the two are getting all this sorted now. A couple of days after our interview they will begin rehearsals for a seven-week run of Amy Herzog’s play 4000 Miles, in which they star as a grandmother and grandson, each quietly dealing with their own grief. Chalamet takes on the role of Leo Joseph-Connell, a somewhat lost 21-year-old who experiences a tragedy while on a 4,000-mile-long cycle ride with his best friend. Atkins plays Vera Joseph, his widowed 91-year-old grandmother, upon whose Manhattan doorstep Leo unexpectedly arrives in the middle of the night, unsure of where else to go. What follows is a wonderful, and wonderfully witty, study in human relationships, a portrait of two generations with decades between them trying to make sense of the world.

Its stars, who’ve met twice previously, in New York last year, are still very much getting to know each other – and are confident in the appeal. “There are things like this play – hoping I don’t butcher it – where you can just sit back and go, ‘Oh, this is a delicious meal,’” says Chalamet. Atkins agrees. “I have a phrase in mind that I shouldn’t really say because it’s going to sound terrible in print.” Which is? “I find it a dear little play, a really dear little play. I think it should be very moving. But who knows? We might f**k it up.”

It’s unlikely. Atkins has been a regular on The Old Vic’s stage since the 1960s, going toe-to-toe with greats from Laurence Olivier to Alec Guinness, and fellow dames (and close friends) Maggie Smith and Judi Dench. Chalamet, meanwhile, is a relative novice, with only two professional plays under his belt. But since his turn as Elio in 2017’s Call Me by Your Name (for which he was Oscar-nominated), his celluloid rise has been meteoric. Roles in Lady Bird, Little Women, The King and Wes Anderson’s upcoming The French Dispatch have not only earned him the slightly fraught badge of “heart-throb”, but proved him to be among the most captivating actors of his generation.

He says he couldn’t resist the opportunity to come to the capital. “There was something exciting about doing a play that feels very New York in London,” Chalamet explains of taking on the part. He’s a diehard theatre fan, too, revealing he saw the six-and-a-half-hour epic The Inheritance – twice. “There are films like The Dark Knight or Punch-Drunk Love or Parasite that can give you a special feeling. But nothing will be like seeing Death of a Salesman on Broadway with Philip Seymour Hoffman or A Raisin in the Sun with Denzel Washington.”

Herzog’s writing particularly spoke to him. “Leo’s in a stasis that was very appealing to me,” he continues. “We find our crisis in moments of stasis, but there’s an irony to it when you’re young, because the law of the land would have you think that to be young is to be having fun, to be coming into your own. But as everyone at this age who’s going through it knows, it’s often a shitshow.”

It’s safe to say that, in casting terms, director Matthew Warchus, also artistic director of The Old Vic, has hit the jackpot. He first took the play to Atkins three years ago, but it was only towards the end of 2019 that Chalamet came on board. When it was announced, in December, that Hollywood’s heir apparent to Leonardo DiCaprio would be making his London stage debut, the news was met with a level of hysteria not usually associated with the 202-year-old theatre’s crowd.

“Oh, my friends have told me who the audience is,” Atkins chimes in when I ask who they think will be coming to see the show. “It’s 40 per cent girls who want to go to bed with Timothée, it’s 40 per cent men who want to go to bed with Timothée, and it’s 20 per cent my old faithfuls.” Is Chalamet prepared for the onslaught? “I think it will be 100 per cent Eileen’s faithfuls,” he demurs.

On the surface, they can seem quite the odd couple. Chalamet, raised in Manhattan by an American dancer-turned-realtor mother and French father, an in-house editor at the United Nations, may be living a breathless, nomadic movie-star life but there’s an iron core of Gen Z earnestness there. He arrives on set with minimal fuss, even deciding to wear the clothes he came in for one shot, before knocking out some push-ups, politely ordering an omelette and generally being divinely well-mannered.

He turns on the star power for the camera, though, and I can confirm it’s as dazzling up close as it is on the red carpet, where he has, famously, casually redrawn the rules for male dressing. From that Louis Vuitton sparkly bib at the 2018 Golden Globes, to a dove-grey satin Haider Ackermann tux at Venice last year, he’s a true fashion darling. Then, of course, there’s his dating life – from Lourdes Ciccone Leon to Lily-Rose Depp – that remains an endless source of fascination to millions worldwide. (All this, it must be said, is of significantly less interest to Dame Eileen.)

Atkins started dance lessons aged three, shortly before the start of the Second World War. By 12, she was performing professionally in pantomime, not far from where she grew up in north London, the youngest daughter in a working-class family. A fast-established theatre star, wider fame didn’t find her until late in life. Despite memorable turns in Upstairs, Downstairs and Gosford Park, it was the 2000 television hits Cranford and Doc Martin, when she was in her early seventies, that finally made her a household name. Today, she lives alone in west London, since her second husband, the TV and film producer Bill Shepherd, died in 2016. She has often spoken of being happily childless, and has zero time for razzmatazz.

And yet, despite their differences, the pair appear perfectly matched. They already have their grandmother-grandson dynamic down pat. Atkins does a fine line in mischievous eyebrow-raising, and at one point recites a limerick that is, honestly, so rude it almost makes her co-star blush. Chalamet, meanwhile, is politeness personified, still trying to work out his thoughts on various subjects, less inclined to give so much of himself away. There is a physical likeness, too, in their delicate features and fine bone structure. They share a naturally melancholic look, one that melts away when they laugh.

Their upcoming play, which premiered to rapturous reviews Off-Broadway in 2011, “about a block” from Chalamet’s high school, LaGuardia, could have been written for them. “Other than not being American, I’m very like the old woman,” says Atkins of the Pulitzer-shortlisted play. “I can’t be bothered to learn the internet.” If there’s one thing she won’t tolerate in rehearsals, it’s people on their phones. That’s the only thing that will “piss me off ”, she says, brusquely.

Ah, phones. Are they really the symbol of generational disconnect? “It’s easy to point to these things,” Chalamet says, tapping his phone on the table, “as the cause or the symptom, but I think my generation is a guinea pig generation of sorts. We’re figuring out the pros and cons and limits of technology.”

Equally, Atkins is keen to distance herself from some of the criticism levelled at her age group. “There’s a saying isn’t there: if you’re not very left wing when you’re young, you’re heartless. And if you’re not very right wing when you’re old, you’re foolish. I’m not political, but I’m not with this government I can assure you – and I’m not with Brexit. I wanted to wear a sweater saying ‘I did not vote Brexit’, because it was all old people who did. Not me, not me,” she snaps. “I went on the march.”

Both are in agreement that intergenerational friendships are too rare these days. “So. Important,” Chalamet says, hitting the table between each word. “There is so much to learn from people who have walked the path of life. That’s why I’m so looking forward to these next couple of months.”

Atkins is thoughtful on the matter. “I don’t miss the fact I don’t have children, but I do envy my friends who have grandchildren,” she says. “About five or six years ago I met a couple of young people – they are just about 30 this year – and, do you know, we go out together. And people immediately say to me, ‘Are these your grandchildren?’ And I say, ‘No.’ And they say, ‘Your godchildren?’ And I say, ‘No, they’re just friends.’ Everybody thinks there is something weird about all three of us. They just don’t get it. But the boy makes me laugh more than anybody and the girl is enchanting. I have more fun with them than I do with almost anybody else.”

I remind Atkins about her description of today’s youth as being overly serious. “I do call them the New Puritans, yes,” she says, before motioning to her young co-star. “He probably drinks like a fish.”

Chalamet, currently single, is remaining tight-lipped about plans for his new London life, and how many late-night manoeuvres in Soho or Peckham it may involve. “I’ve got friends here, which is nice. But I’m here for this – to be terrified at The Old Vic.”

Before we leave, there is a final thing to clear up – Atkins’ aforementioned limerick. “Do you know about the Colin Farrell situation?” Eileen asks Timothée. No, comes his reply. “Better get it over with now because someone will tell you,” she says, proceeding to explain how, when she was “69, about to be 70” and filming Ask the Dust with a 27-year-old Farrell, “he made a pass at me. He came to my hotel room. He was enchanting. I let him chat for two hours, thoroughly enjoying it, but no not that. He was very cross I didn’t.”

But then, she explains guiltily, she later told the story during “some stupid TV show” (Loose Women), where despite her best efforts at keeping Farrell’s identity secret, the internet did its thing and news got out. An apology to Farrell was required. “So I left a limerick on Colin’s phone…” she says. She clears her throat: “There once was a **** of a dame…” she begins, in her imitable theatrical timbre, before reeling off one of the filthiest rhymes I’ve ever heard.

There is a moment of stunned laughter. “Wow, that’s sincerely amazing,” comes Chalamet’s response, as Atkins finishes the verse. He gives her a solemn oath: “I promise I won’t hit on you.”

4000 Miles is at The Old Vic, SE1, from 6 April

#timmy #timothee chalamet #4000 miles #british vogue app #Eileen Atkins #my edit

276 notes · View notes

hiheyimhuy · 4 years

Text

Movies/TV Shows

1 Roman Empire -Season 1 -Theme Funny -Golden Age

-Birthdays -Jayden Kouli Spring -Ian Spear Summer -Rex Woodbury Fall -Taylor Phillips Winter

-Jennie Mayer “Type 1” Insults -Arlene Williams “Type 2” Conversation -Tina Fey “Type 3” It’s Not Funny, But It Is Funny -Alison Kang “Type 4” Fighting

-Annie Bucher -Bayley Lichtenberg -Brenna Harrington -Briana Jackson -Carley Wood -Christine Baker -Ellie Hoekman -Emily Dugan -Emily Ross -Heather Bateman -Heather Stams -Jessie Torlai -Kailyn Pennock -Katie Fischbeck -Katie Theisen -Kirsten Brewer -Kristen Kemper -Kylie Barrett -Kyra Pennington -Lexi n Abby Klinkenberg -Meg Mullen -Meressa Mamon -Mia Torlai -Nicole Silver -Rebecca Nixon -Samantha Holler -Tahlia Carchedi 1/2 -Taylor Green 1/2 -Tessa Acay -Zoey Golden 1/2

-Austin From Gardenscapes -Kevin Hill

-Season 2 -Theme Suffering -50 Years After The Golden Age With New Complicated Rulers/King And Government Officials -Nice People -People Who Likes To Play Games -Hard Living -Ancient Technological Society -Consequences -Crimes -Passion of the Christ Roman Guards -Green River Teachers -Guys from Han Tinh Phan Kim Lien -Rating 100% -Jessica Clarke -Kelley Flanagan -Hannah Ann -Lindsey Allemeier -Julia Newell -Annika Brauer -Catherine Berner -Olivia Carlson -Louisa Dunwiddie -Emma Linde -Savannah Billedo -Danielle Brady -Jackie Robinson -Rachel Keyser -Angela Zhang -Megan Williams -Maia Lee -McKay Njos -Tylar Philpott -Vanessa Chukri -Dan Mitchell -Brett Goldstein -Brendan Welzien -Jackson Zariski -Adam Newton -Toro -Richard Ferguson -Jared -Royals Friends -Josh Brueckner -Katie Betzing -Matt Howard -Abby Howard -Charli D’amelio -Addison Rae -“Too Hot To Handle” IGTV video guys -Jacqueline Miller -Eileen Bruns -Johannes Huebl 2/3 -Matty Carrington -Franky Cammarata -Ben K Bowers -Colton Underwood -RJ King 2/3 -Graham Davis -Willem De Koch -Brian Pruett -Gigi Meyer -Henry

-Hailey Napier -Blake Napier -Alex Knutson 2/3 -Elle Petschl -Sam Petschl -Anna Lynch -Ana Rae Miller -Brenna Hudson -Madeline Huletz -Claire Kennedy -Connell O’Brien -Max Tychsen -Dylan Inman -Austin Budke -Cameron Sackett -Elliot Knapp -John Mark Lambert -Colby Franklin -Season 3 -Theme Conquering -Depicts The Fall Of The Roman Empire -Combat Tactics -Strategies -In Places That Trigger Fear -“X Ambassadors - Renegades” Feel -Austin Olson -Chris Torlai -Kevin Hall -Matt Mead -Max Liebl -Nathan Lantz -Nathan Rodland -Oak Griffith -Sean Redmond -Stefan Andonian -Tanner Patnode -Travis McGuire -Wes Concepcion -Ben Affleck -Christian Bale -Tom Cruise -Cavill -Simon Pegg -Sam Quinby -Garrett Yrigoyen -Ben Higgins -Peter Weber -Jack Weber -Chris Harrison -Arie Luyendyk -Jason -Blake -Jared Haibon -Chris Soules -Jordan -David -Joe Sessa -Josh Canova -Graham Bennett -Kevin Park -Aaron Park -Julien Isnardon -Armie Hammer -Maurice Laab -Keegan Selby -Tyler Pichette -Season 4 -In Heaven With Henry And Malcolm

-Season 5 -Reunion Live “Maplestory - Ergoth’s Throne” “Maplestory - Orbis Tower” “Maplestory - Ludi PQ” -“Imagine Dragons - To Exist” 2 -“Imagine Dragons - Darkness Lies Above” 3 -“Imagine Dragons - Fear Is In Your Eyes” 3 -“Imagine Dragons - Only Way Across Is Cold Water” 3 -“Alesso - To Live Without Music” 1 -“Alesso - Watery Feels” 1/2 -“Bastille - What Keeps You Awake At Night” 2 -“Bastille - Every Time You Close Your Eyes” 2 -“Benny Blanco - The 4 Amigos” 1 -“The Chainsmokers - Wishing You Can Untouch” 2 -Might Change Title When I Have Time -“Charlie Puth - Day And Night Changes” 2 -“Coldplay - To Make You Wish You Don’t Have A Soul” 2 -“DNCE - The First To Arrive And Last To Leave” 1 -“Linkin Park - Rather Fall Than Surrender” 3 -“Kaskade - Your Voice Is All I Need” 1 -“Lana Del Rey - The “H” Word” 2 -“The Lumineers - A Cold Winter Morning” 2 -“Major Lazer - Gets You Off The Ground” 1 -“Major Lazer - Hard Bed, Soft Together” 1 -“OneRepublic - Rather Whisper Than Say” 1/2 -“Selena Gomez - Hope You Can Make It Back To Me” 3 -“Selena Gomez - I Need To Give You” 3 -“Shawn Mendes - If I Was Your First Lover” 1/2 -“Shawn Mendes - Fulfill Your Wishes” 1/2 -“Taylor Swift - February Missing You” 3 -“Taylor Swift - Waking Up And You’re Not Here” 3 -“Tove Lo - Roses In Water” 1 -“X Ambassadors - Repentance” 2/3 -“X Ambassadors - Remorses” 2/3 -“X Ambassadors - Regrets” 2/3 -“X Ambassadors - In The Woods” 3 -“X Ambassadors - No One To Be Found” 3 -“X Ambassadors - Only Nature Exists Now” 3 -“X Ambassadors - When You’re Lost” 3 -“2AM Club - I Still Remember You” 1

2 Killer -Henry Farm Childhood -Tom Cruise -Henry Cavill -Simon Pegg -Kelly Hu -Mila Kunis -Chiaki Kuriyama -Amy Johnston -Connell O’Brien -Yugioh Main Characters -Yugi -Joey -Bakura -Pegasus -Marik -Mai Valentine -Weevil -Rafael -Dartz -Charli D’amelio -Matt Howard -Alessandro Dellisola -Johannes Huebl -Sean O’Pry -Taylor Swift -Shawn Mendes -Girls Non-Killers -“Soft, Tender, Delicate” IGTV video -“Finger 11 - Paralyzer” IGTV video -Excluding Claire Miller -Abby Howard -Armie Hammer -Chace Crawford

3 Witches History on Earth -Malcolm in Heaven -Hocus Pocus -Vietnamese Girls -Trang Nguyen -Nguyen Ha My -Yen Nguyen -Written By Henry And Malcolm

4 Paris by Night in Modern Time -Presidents -Ben Affleck -Leonardo DiCaprio -1/4 Europeans -Brody Jenner -1/4 Asians -Japanese -Chiaki Kuriyama -Substitute -Cheyenne Stacey Powell -Administration -Nia Nguyen -Stephanie Che -The Bachelor Girls -The Bachelorette Girls -Clothes -Elementary And Middle School -Less Normal -High School -Fashion -College -Travel After College -Love

5 Ancient Forests -Josh Brueckner -Katie Betzing -“131 Tall Tree Guys” IGTV video -“Soft, Tender, Delicate” IGTV video -The Bachelor -The Bachelorette

6 Toys

7 Song Dynasty (960-1279 AD) -Inventions -Movable Type Printing (1041-1048 AD) -Gunpowder (1000 AD) -Compass (1100 AD) -Paper Money (11th century) -Arts -Music -Literature -Philosophy -Theme Romance -Marco Polo -Born in Venice -Silk Road -Visited China (1275-1292 AD) -Father and Uncle -Lingchi Torture -TVB Actors/Actresses -Kenneth Lam -Kacie Lo -Chloe Tsang -Clarissa Chan -Jessica Yi -Danny Shin -Joyce Lin -Shin -Alex Landi

8 Ancient Egypt -Theme Revenge, Ruling, Warfare -Pharaoh -Pyramids -Sphinx -Nile River -Farming -Hieroglyphics -New Kingdom (1570-1069 BCE) -Kings Are Called Pharaohs -Golden Age -Wealth -Prosperity -Power -Wars -Burned alive -Thrown into river with crocodiles -Charli/Dixie D’amelio -Addison Rae -“Roosevelt High School” IGTV video -Andrew Mead -Austin Perlatti -Bret Johnson -Carter Rey Johnson -Casey Manso -Christopher Wilson -Clay Barton -Colby Foss -Connor Bennett -Dalton Bond -Derek Pedersen -Hayden Njos -Jake Zylstra -Jared McAboy -Jeff Seid -Jett DiPalma -Jordan Kirkland -Ken Williams -Kevin Brown -Kevin Hall -Kevin Kennedy -Kramer Fairclough -Leo Trotz -Marco Amalfitano -Max Liebl -Michael Leverenz -Mike Suguro -Mitchell Booth -Nathan Lantz -Nathan Rodland -Matt Fisher -Nick Fisher -Nick Watson -Oak Griffith -Ozamataz Buckshank -Pabi Dhaliwal -Pat McGuire -Pierre Groenewald -Roddy Hanson -Ryan Johnson -Scott Andrew -Seth Gunning -Seth Shields -Sheldon Stober -Stephen Bishopp -Tanner Patnode -Taylor Tinney -Wes Concepcion -Zane McCanless -“Soft, Tender, Delicate” IGTV video -“INNA - Amazing” IGTV video -Elizabeth Rodland -Armie Hammer -Chace Crawford -Franky Cammarata -Johannes Huebl -Sean O’Pry -Blake Horstmann -Jan -Joe Sessa and his friends -Matt/Abby Howard -Taylor Dean -Kelley Flanagan -Jessica Clarke -Madison Prewett -Lindsey Allemeier -Katie Betzing -Ben Higgins -Hannah Ann -Ian Spear -Laguna Beach -Lauren -Kristin -Stephen -Talan -Jessica -Taylor -Adam Newton -Sean Lowe -Catherine Giudici -Brianne Schmidt -Connell O’Brien -Tyler Pichette -Hannah Brown -Max Tychsen -Dylan Inman -Tyler Cameron -Taylor Phillips

9 Mesopotamia -Daily Life -Learning To Be A Scribe -Ziggurat -One Of The Seven Wonders -Hanging Gardens -The Fertile Crescent -Invented The Plow -People Of The City-States -Nobles -Priests -Merchants -Scribes -Craftworkers -Free Farmers -Enslaved People -Farmers Who Did Not Own Their Land -Cut One Hand Off -Women’s Legal Status

10 Ancient Greece -Philosophers -Socrates -Plato -Aristotle -Mathematics/Science -Euclid -Archimedes -Eratosthenes -Hippocrates

11 Greek Gods/Goddesses -Athena, Goddess of Wisdom -Parthenon Temple

12 Alexander the Great

13 Medieval Europe (500-1500 AD) -Theme Suffering -Boiling -Baking -Burning -Brazen Bull -Cooking -Stretching Bones -Sleep Deprivation -Quartering -Children’s Crusades -Castles

14 Islam -Muhammad -Arabia -Persia -Pillars -Architecture -Learning -Astronomy -Algebra -Medicine -Mapmakers -1001 Nights Book

15 India In The Middle Centuries -Taj Mahal

16 Central/South America -Theme Coming of Age -Maya -Toltec -Aztec -Tenochtitlan -Teotihuacan -Olmec -Inca -Cotton -Maya Calendar -Maize Corn -Metal -Writing -Soccer -Rituals -Religious Ceremonies

17 Europe (1400-1750 AD) -Peasant Revolts -Wars -Renaissance -Coldplay -Exploration -North/South America -Slavery -Imperialism

18 Industrial Revolution (Late 1700s AD) -England

19 Nations in Conflict (1775-1921 AD) -Revolutions -Independence -Nationalism -Ending Ancient China

20 1900s Conflict -Hitler -Russia -Japan -Westernization -Communism -World War I -World War II -Cold War -Berlin Wall -Technology -Advancements -Independence -Space Race

21 1900s Fun -China -Shanghai -David Kangmeng -South Korea -Fashion -Music -Recreation -France -Coffee -Restaurants -Sex -Hugh Jackman -Germany -Hugh Jackman -Spain -Hugh Jackman -Great Britain -Hugh Jackman

22 United States 1970-1990 -Fraternity -Fun -Matt Damon

23 Adulthood in the United States -The Bachelor -The Bachelorette -City -Country -Jobs -Relationships -Financial Problems -Making It In Hollywood

24 Masculinity -Male To Male Friendships And Siblings -Domination -Dealing With Girls

25 Comedy PBN Part 2 “Spin Off” -Continues After “Paris By Night In Modern Time” -Age Around 30+ -Van Son Cast -Similar To “Adulthood in the United States” And “Virtues of Harmony II” But Different

26 Countryside “Que” In VN -Theme Suffering -Financial Problems -Hard Living -Making It As Singers -Dating Singers -Accidents -Human To Human Crimes -How To Get To The United States

27 Physical Buildings And Transportation -Thailand, Malaysia, And Singapore -Hotels -Motels -Apartments -Bars -Clubs -Supermalls -Supermarkets -Companies -Motorcycles -Taxis -Trains -Airports -Gambling

28 Companies And Corporations -India And The Middle East -Work Time -Play Time

29 Modeling -Brazil, Portugal, And Spain -Amazon Rainforest -Rio De Janeiro -Marcello Alvarez -Jobs -Pay Less -Require Effort -Tired -Time Consuming -High School Drop Out -Saving Money -Criminal Offenses -Competition

30 Hierarchy In Society -Mexico -Poor -Rich -Cartels -Illegal Immigration To The United States -MTV Reality And Game Shows -Cabo San Lucas -Travel To The Caribbean

31 Route To Antarctica -Theme Living With Air Pollution 1990s -Chile -Santiago -San Antonio -Argentina -Buenos Aires -Andes Mountains -Lake Titicaca -Atacama Desert -Tierra Del Fuego -Tip Of South America -Cape Horn -Herding Farm Animals -Biking

32 High School In Vietnam -Movie Length Duration -Fun During School -Hard Times Outside Of School

33 United States Road Trip -Washington -Oregon -California to East Coast -Variety Of Climates -Route 66

34 Girl Pornstars -Hot Girls -Hard Past -Family -Friendships -Relationships -School -Money -On The Street -Need Food -Need House -Need Home -Models -Real -Instagram -Victoria’s Secrets -Pornstars -Feelings -Resentful -Fearful -Anxious -Apprehensive -Insecure -Suspicious -Trust -Travel -Making It In The Porn Industry

35 Guy Pornstars -Straight Guys -Gay/Bi Guys -Henry Pheet -Malcolm -Random Grindr Hookups -Travel -Making It In The Porn Industry Leonardo DiCaprio Robert De Nero John Travolta Tom Cruise Henry Cavill Simon Pegg Christian Bale Hugh Jackman Keanu Reeves Edward Norton Sean Connery Matt Damon Mel Gibson George Clooney Tom Hardy Orlando Bloom Guy Pearce Heath Ledger Robert Redford Paul Newman Scarlett Johansson Rachel McAdams Amanda Bynes Japan -1900s WWI/II -Westernization South Korea -1990s K-POP China -Song Dynasty -Ending Ancient China -1900s Beijing Vietnam -School In United States -Travel -Love -Comedy -Countryside “Que” Thailand, Malaysia, And Singapore -Physical Buildings And Transportation Drama India -The Middle Centuries Taj Mahal -Companies And Corporations The Middle East -Companies And Corporations Europe -Medieval -Renaissance -Exploration -Imperialism Italy -Roman Empire France -1900s Great Britain -Industrial Revolution Mexico -“Hierarchy In Society” Brazil -Modeling Portugal -Modeling Spain -Modeling

18 notes · View notes

be-dazzled · 4 years

Photo

#SIYC

Gray Fullbuster, Juvia Lockser Genre: Multi-chapter, Romance, Comedy Rating: M for sensitive Language and Content

I love the look on your face when you first see me The way that you laugh at the silliest things There's a million more, these are just a few Of the many reasons I love you

- The Way You Smile, NewSong

The sun was still high but the fresh air in Isvan felt good on the skin. The breeze slapped on his exposed skin and kept him awake despite the long, quiet drive. Gray threw a glance at his girlfriend by his side, still soundly asleep. He felt bad for her missing the view. Gray contemplated waking her up but he decided against it, thinking she needed the rest. Besides, the drive back would give her a second chance at the view. For the meantime, he'd let her catch up with her sleep. He pulled her hand gently, careful not to wake her up, and pressed a soft peck on her knuckles.

The Lamborghini crossed the border that separated Gray's hometown from the great City of Magnolia. Isvan used to be a third-rate municipality, surrounded by medium cost housing and rough road. Not until Gray's success in the city, no one would have even heard of Isvan. The town was gradually developed in recent years. Today, Isvan was lined with fancy concrete houses and elaborate landscaping to go with them.

Gray could already recognize his neighborhood but his mother's house was still at the other end of that exclusive suburban village. When he reached the last white-fenced house, Mr. and Mrs. Connell's, Gray turned the curb into an asphalt road lined by coconut trees at either side. At the end of that road was the black, decorated gate that led to President Wakaba and Mika Mine's mansion.

The guards on post greeted their master Gray and opened the gate to let the Ghini into the compound. Gray pulled up right in front of the mansion's main entrance, snorting at the ridiculous fountain across the house. That wasn't there before.

President, his step-father, the fur wearing Wakaba Mine, did a good job renovating the old bungalow his family used to own. He couldn't even recognize anything from his old home, like he just replaced the entire thing. But the mansion reflected the President's style – extra and flamboyant.

He cut his engine off and turned to the sleeping figure beside him. He fought the desire to touch her face and kiss her lips. Ultimately, he learned that he had the slightest self-control where the ballerina was concern.

"Hey, girlfriend. Baby?" Gray's words were a soft rumble in Juvia's ears. He gave her a cautious shove, gentle enough not to startle the ballerina.

His girlfriend's lids fluttered open and she stirred in her seat, stretching her arms, heaving her chest up and finally waking from her dream. One set of amused eyes couldn't help but stare.

"Hey, babe, we're here."

"Was I asleep the whole time?"

She wasn't awake enough to make a wistful pout. Neither was she oriented enough to know her surroundings. But the moment she saw Gray, Juvia gave him that snoozy smile and a soft press on his lips.

"Now, that's what good mornings are made of."

She settled back to her seat, heaving out a contented sigh. Gray, wanting more after having a little taste, leaned in to indulge himself.

"If that's my reward, I really don't mind waking you up every morning. Even at night, and in between."

But before he could even reach that sweet pink haven, the evil woman from hell decided to show up.

"Oh, you're finally here!"

The steering wheel suffered Gray's disappointment. "Good morning, mother." He greeted without even trying to hide his irritation.

The ridiculously dressed President appeared behind Gray's mother, blowing a smoke from his pipe. His trademark fur-coat eating at his neck. But he was also leaning on a wooden cane. Gray never seen nor knew that he used one.

It was Juvia who climbed out the car first. She returned Mika's hug and that geezer's. He twitched at the latter. But no matter how much he hated it, Gray knew he couldn't go up that house without having to do it. So, Gray got out of his Lamborghini, already regretting.

President hugged him last, longer than necessary. He still smelled like burning tobacco and strong alcohol.

"Geez, the sun's still up and you're already drinking."

"It's called social drinking, you brat."

President Wakaba patted him at the back with both hands, stronger than usual too, before he released Gray from his hold. But he wasn't done yet. President Wakaba dropped his arm around Gray's shoulder and leaned on him like he found no use of his cane.

"You have good taste, brat." He said as he coughed after smoking his pipe.

Gray's eyes drifted to the direction where President was looking and easily comprehended what he meant. The two unknowingly shared a triumphant grin that guys like them often had talking about their impeccable taste in women.

"Yeah."

Both tilted their heads on the side as they appreciated the retreating backs of their respective women and then lower. Both were unashamed of what they were doing.

"Just like me."

That one Gray didn't agree with. Yes, his mother was a find but no, he wasn't like him. But when he turned to President to tell him off, he witnessed that smile and gleam in his eyes Gray knew all too well. His attention returned to the two women ascending the steps into the mansion. He was caught off guard when Juvia glanced back at him, smiling – that bright, contagious smile that lifted the corners of his mouth.

He knew his smile wasn't as sexy as he intended. It was one of those stupid-looking smiles that men like him knew about it. One of those stupid-looking smiles just like President Wakaba's.

"Let's go inside, brat. Don't keep your mother waiting."

Maybe, they weren't so different, after all.

President Wakaba was a few steps ahead of Gray. But he easily caught up with the man in the cane at the double-door entrance. The mansion felt a little different, a little strange. Gray would always feel that every time he came home, once every year. He needed to adjust to his own house.

"I guess mom is kinda bored again, huh?"

Gray commented, looking around the gigantic interior of his mother's house. Consulting his memory, it seemed that the furniture was moved around and the drapes, he noted, were freshly changed.

"You know your mother. She goes crazy whenever you come home."

Gray followed President deeper into the mansion. The man with the cane led him to an archway where he heard some noise – talking and laughter. He didn't see that absurd orange Mercedes at the entrance but Gray knew his team was here. And whatever his Vice Captain said about the color being lava, Gray would keep calling his car orange.

"You should come home more often."

Gray heard the unsolicited advice. Once a year was enough, right? And his mother visited him in the city anytime she wanted. Oftentimes, uninvited.

"Oi, Captain!"

He was right, Gray's team was already at the long table, enjoying the feast before them, headed by his feel-at-home Vice Captain, Natsu.

"What took your Lamborghini so long?" Natsu asked, gnawing on a piece of turkey leg. "My Lava made your Lamborghini eat dust!" he proudly exclaimed.

"You named that tin can Lava?" he barked back as usual.

"You guys made an interesting stop-over?" Loke asked, his double-meaning look jumping from his Captain and then at the ballerina by his side.

"Eat your food, jackass."

"Gray, manners."

His mother reminded.

"Just sit down. I'm sure you two are very much hungry."

Gray glared at the woman.

"From the travel, geez. Why are you so worked up?"

But Gray knew what she really meant. That wide grin wasn't fooling anyone, just adding fuel to fire.

"Don't mind them."

Gray told Juvia before he took the seat next to hers. He wanted to take her hand in his, place a soft peck on the back of her palm and maybe claim that kiss she'd been teasing him earlier. Just maybe not in front of the guys. He could handle their teasing but he wasn't sure about Juvia.

"And don't mind my cavemen of a team." He added, nodding at the four crudes gobbling the table clean.

Gajeel, Fiore Knights' Center, said something with his mouth full that no one in that table understood. No one except Fiore Knights.

"He said we need the protein." clarified Loke. "And you're the one to say." The self-proclaimed woman's man, pointed an accusing spoon at Gray. "You're just shy in front of your girlfriend."

"I once watched him finish an entire plate of chicken breast and he was still hungry." Juvia chimed in.

"Hey!" he teased.

"What? It's true."

"Don't go feeding my team with that information. They'd think they have something over me."

"It's common knowledge." Natsu joined in. "You haven't seen him guzzle a whole chicken. It's not cute."

"Turns you off, doesn't it?"

Gray felt an urge to punch the man sitting next to Juvia. He might be quite a looker, mysterious and brooding, but a little black eye suits Laxus too.

"Alright, alright. Don't scare my girlfriend away."

Gray knew he would quickly regret it but for the first time he let his men find his weakness. He was never going to hear the end of it.

---

After brunch and an hour of teasing from his teammates, Gray walked back to his car to grab his and Juvia's bags. They were arranged neatly at the backseat; his navy blue duffel and her pink animal-printed… he'll go ahead and just call it a weekend bag. He took the shoulder bag on the front seat and balanced the three on his shoulders. The gleam almost blinded him when the 10:00 a.m. sun hit his girlfriend's sequined bag.

When he entered through the living room, he found his teammates scattered around the sofa, groaning out of overeating.

"Ugh. I can't feel my stomach." Natsu sprawled on the Camelback, claiming it all to himself. "I don't think I can walk."

Gray grabbed a pillow and threw it on the whiner, hitting Natsu right in the face.

"Hey!" Natsu bolted up, regretting it almost immediately.

"No one told you to eat the whole table."

"He's right, Cap." Gajeel joined in. "I think I'm stuck in here."

Gray would have cracked a laugh at the picture of Gajeel, a size or two bigger than the armchair that completed the sofa set. The Team Captain threw the other cushion at Fiore Knights' Center which the latter easily caught in his hands. He had great reflexes and good at catching things.

"Let's not disappoint today." He stated, more sounding like a threat. Then, Gray picked up the bags he dropped on the floor and went his way.

"Fine, fine! Loke will not be disappointing any children today."

Gray was already at the first step of the grand staircase that led to the second floor. Still, Loke's voice reached him. He didn't have any doubts about that. They might look and act like a bunch of overgrown children, but the member of Fiore Knights were professionals. Plus, those cavemen were typically heroes to the young boys from the home. Gray was sure his men never disappoints, or their ego wouldn't allow them.

Hoopster ascended the stairs to the second floor, with his and Juvia's bags hanging on him, adding to his weight. But nothing he couldn't handle. He used the mid-morning sunlight to steer the carpeted corridor.

Gray paused to appreciate one of his favorite installments in the house. The floor-to-ceiling drapes were tied to the sides, putting the endless blue sky to view. The glass wall overlooked his mother's beautiful green garden; its continuous flow interrupted only by a white, double wooden door which led to the veranda. Gray reminded himself to show Juvia his mother's own grown garden. But the house tour would have to wait. There was somewhere else he wanted to take Juvia.

Gray dropped by at the guest room, wanting to know if Juvia settled in. He found her just coming out of the bathroom, sadly for Gray, all her clothes were still intact.

"Hey, beautiful."

Gray was such a smooth talker that his suave greeting earned a soft smile and a little blush from Juvia.

"Oh, hi. Hey, thanks for bringing those up." said Juvia as she took her weekend duffel and shoulder bag from Gray and placed them on the still made-up bed.

"That's all I get?"

The mattress dipped as Gray sat on the edge of the bed, next to Juvia who busied herself by taking out some cosmetic pouches and arranged them neatly on the bedside table.

"My arm felt really," Gray massaged his left shoulder where he carried Juvia's bags and twisted it behind, feigning muscle cramp. "sore carrying that leopard bag of yours. What do you have in there?"

He noticed the slight change in Juvia's blue eyes, probably remembering something – something naughty. The woman cleared her throat first, trying to fight the heat that was coloring her cheeks pink.

"Why?" she asked. "Isn't a 'thank you' enough?" Juvia was now taking out some other travel pouches inside the sequined bag.

Gray noticed she was trying not to meet his eyes, which was weird.

"Huh."

His girlfriend was acting really weird.

"What?"

Gray didn't answer. Instead, he pulled Juvia towards him, wrapping his arms around her waist and spreading his legs to let her even closer.

"Well, thank you is good but I need a…" Gray didn't finish his sentence on purpose and just puckered his luscious lips.

"You want a kiss?"

Gray thought he was being cute. He believed that too when Juvia finally gave him that beautiful smile.

"Yes, give me some of that sugar, please."

Juvia tucked strands of hair behind her ear before she pressed a quick peck on Gray's lips, resting her hands on his broad shoulders as she did.

"Like that?"

"Yeah, but more."

This time, it was Gray who softly brushed his lips against Juvia's, earning a soft 'mmm' from her. But he was the one who broke off the kiss too, albeit resentfully. It took so much of his will power to pull away from that kiss. But young, excited kids were waiting for him and his team. He was looking forward for it too.

"I know I promised to show you around the house." Gray looked up to his girlfriend who was still smiling at him. "But there's somewhere I'd like for you to see first."

"Alright."

Juvia awarded herself one last kiss before she pulled Gray off the bed and out of the guestroom. Downstairs, four Fiore Knights were waiting for them; and one of them – very impatiently.

"Geez, what took you guys so long? Let's go." Natsu didn't have any intention to let the couple answer. He just played with a rather smaller ball in his hands as he started to the door.

"Don't mind him, Juvia." It was Loke who apologized on behalf of his Vice Captain. "He isn't getting any of that lovin' so he's cranky." The rest of Fiore Knights followed behind Cranky. The couple, after sharing a short but guilty giggle, rounded up the close knit.

They took the Ghini for a spin. If Gray wasn't on the wheel with his eyes on the road, he would have enjoyed staring at his girlfriend by his side and it was a picture he'd forever etch in his mind. How her blue tresses rode the wind. How her eyes closed as she took in the breeze that hit her face. But most of all, the curve of her lips as she steal a glance at Gray and he'd catch her.

"You've never been to Isvan, right?" Gray kept his eyes on the road as he navigated the neighborhood. He'd steal a glance at Juvia who leaned back on the passenger seat, looking out into the rich neighborhood.

"Yeah. It's not as I expected."

Another glance showed Juvia now looking ahead the road as the Ghini purred into the main town and light traffic.

The Isvan Capitol was made of hard white-washed brick, topped with spiky spirals. It looked very polished and well-maintained. The surrounding buildings kept the motif going with needle roofs and that dirty white paint. It wasn't hard to spot the buildings which weren't part of the government compound. They looked like cream-colored boxes with solid paint and hard edges.

"It's very… current."

"It wasn't like this when I was a kid." Gray shared, both hands on the wheels as he maneuvered the packed four-lane.

"They named a gymnasium after you?" asked Juvia, amused eyes glued at the building bearing the Fullbuster name they just passed by.

"Not me, my dad." Gray clarified. "President donated it when I won my first national championship."

Juvia couldn't keep her eyes straight ahead as she kept seeing Gray's face all over town.

"Wow, my boyfriend is kinda important, isn't he?"

At one of the commercial buildings, a tarpaulin was hanging with words of encouragement for Gray and Juvia. They chose good photos of Gray and Juvia for the collage, same as the one they saw at the ballerina's hometown.

"That's right." Gray put off his sunglasses for a sexy wink. "Your boyfriend is a celebrity."

Juvia had to roll her eyes and they both laughed.

But Gray wasn't planning on taking Juvia on a town tour. That could wait. At the end of the brick houses, Gray followed the smooth curve. A minute-drive away from the main capital, the four-lane was sharply cut into two.

"This is what I am talking about."

Gray was more relaxed now, driving his billion dollar car into the countryside.

"This is what Isvan is made of."

The two-lane pavement was lined on either side by endless of green and nature, just the opposite of the white-brick capital. The wind colder on the skin as compared to that in the main town. The distinct smell of fresh air brought him back to his childhood, when life was simpler. When he was free to run around the rice fields.

"Hey! What is that?"

Oh, Gray sadly forgot about that.

"Slow down. Slow down!"

He was kind of proud of it. Or used to. Suddenly, a wave of embarrassment was weighing on him. Along with pesticides ads, why would anyone put up a billboard of his abs in the middle of the rice fields?

---

Writer’s Corner: Hi, you guys! I know I should be working hard since we’re on lockdown. I owe you guys some entertainment. I just got side-tracked. Anyways, I hope you had fun reading Fiore Knights interacting.

Also, it was more fun writing in Juvia’s perspective. But let’s shine some light on our best boy. I think you’ll get it in the next chap.

Anyways, I just wanted to thank everyone of you who keeps inspiring me with your kind words. I’ve received a lot of love lately. I am very much thankful.

thank you to these people, some I have interacted with since the beginning, some I just met, but keeps supporting us until now. I apologize in advance if you don’t see your name here but please know you are all important to me. (your girl feeling a little emotional)

: @cobblepottantrum @sobatsu @alfys-world @jetblackrevival @welp-im-going-to-hell @hekaates @hiccstridhumour @juvialockseroff @icelyn20 @freeezingrain @gruviafan-forever @ship-ambrosia @justbeingtruemyself @gruvia-galaxy @shounenmangaotphell @shampooneko @celestialcontrail

Always, always thankful you guys!

#gray x juvia #gruvia #be-dazzled #she's in your court #siyc #gray fullbuster #juvia lockser #gruvia fanfics #gruvia au #modern gruvia

60 notes · View notes

leverage-commentary · 4 years

Text

Leverage Season 2, Episode 1, The Beantown Bailout Job, Audio Commentary Transcript

Dean: Hi I'm Dean Devlin, Executive Producer and Director of this episode of Leverage.

John: This is John Rogers, Executive Producer and Writer of this episode of Leverage.

Chris: This is Chris Downey, Executive Producer, and this the Beantown Bailout Job.

John: Season two, first episode. Chris, how badly did we bone ourselves at the end of the first season?

Chris: Oh, we really wrote ourselves in a corner, didn't we?

John: A massive corner.

Chris: In a massive corner.

John: We wrote- understand, we didn't- because of the way season one aired, we had no idea if we were coming back for a second season. So we really wrote the first season as if- with no idea, but really writing a complete ending to the show.

Chris: If we had cork ceiling tiles, there would've been a lot of pencils hanging from it before this episode was broken.

John: Exactly. And so we really- so we just- this it the way we came back in. We decided to pick up a year later, everyone's been separated and-

Dean: -and here we see Nates character trying to go back-

John: Exactly.

Dean: -into who he was, originally, in the world of insurance, and suddenly the whole world just isn't what it was. You can't go home again.

Chris: Right.

John: Yeah. And this really sets up this very first scene that Dean constructed in this beautiful office, thank you Portland.

Chris: Yes.

John: It constructs the theme for the entire season, which is Nate’s quest for identity. He- who is Nate Ford now? He's not the guy he used to be. And a perfect example of great Portland actors.

Dean: Yeah. Two local actors, just terrific as we've said on some of these commentaries already. The level of talent that we've found in Portland was extraordinary. We thought we were gonna be flying a lot more people up than we did.

John: And this is- did we shoot this with the Ex1, or we shot-?

Dean: Yeah.

John: Yeah, this is all shot with the Ex1 Pro Level camera. One of the great- a great little workhorse.

Chris: Interesting, too, this season we worked a lot with younger actors.

John: Yeah, we used kids.

Chris: We used kids a lot this season, and she really just-

John: Really set the bar.

Chris: I think just- she really set the bar.

John: Yeah, fantastic.

Dean: Speaking of bars...

[Laughter]

John: Very sudden. Now, nice ninja zoom through the window of the bar, nicely done.

Dean: That was Dave Connell’s idea, and I just thought it was great to bring back our tricks from season 1 to season 2 right off the bat.

John: Yeah. And then the brakes go and I like that little move, that actually wasn't scripted, he reached- just reached across to protect her as they fall apart.

Dean: And this sequence in the car was directed entirely by Marc Roskin.

John: Yeah, and this was really the first day we realized what a find Portland was, because now, like, do we wanna close down a block? It’s a hundred cops, you don't always get and it’s impossible. Portland’s like, ‘Yeah, yeah shut down a big chunk of downtown. We’re gonna be crashing cars? Alright, just don't break anything.’

Chris: And it made the local news, didn't it?

John: Yeah it did.

Chris: [imitating a reporter] ‘Today in Portland, they shut down the center of town to do a fantastic car crash.’

John: Now that's a CG shot, and that was one of the things is, now knowing what we do, we probably would just flip the car now. Cause this was, like, the first day we were there and we really- we wanted to be, like, nice, new visitors to the city.

Dean: I think the mistake I made with that flipping car is that I designed that car to be a slow motion flipping car, but when we saw it in slow motion, it lost some of the impact. So we sped it up, but since it wasn't designed to be sped up, it always had a little bit of a CG feel to it. I think I could do that shot better today.

John: That's alright. Look, it’s a car on fire in the middle of Portland for God's sakes.

Chris: Oh he's always beating himself up.

John: I know. I mean, I think there's some- We really rolled from one season to the next; there was no hiatus. We were picked up for the summer; we were originally a winter show, which meant we rolled straight from season 1 to season 2, so even I'll be the first to admit I probably would have struck the opening of this a little more aggressively. It sounds insane when there’s a car crash and flipping and exploding.

Chris: Yeah, aggressively. There's too much self flagellation; this is a great episode. I gotta say, guys, being on the other side over here, this is one of my favorite episodes of the year. I know people talk about, you know, The Two Live Crew job; I like this episode better.

John: And that's a real blow in downtown Portland; that was a great explosion.

Dean: It was frightening, cause all the glass in the surrounding buildings started rattling and I was so terrified that all the glass was gonna blow out and we were gonna start our adventure in Portland by destroying all this property, but luckily everything held.

John: And so- and it was interesting that at this time, when we really launched season one- you can see the influence of what was happening in the fall of 2008 by the- what was in the first two or three episodes of Leverage, and particularly the bailout-

Chris: Yeah, we were really reading a lot about the TARP money, and not to pat ourselves on the back, but when we looked at the amount of money that was being given to bailout banks and other financial institutions, our first thought, being crime writers, was this is a massive opportunity to grab-

John: -for fraud. Yeah there's no way $700 billion just floats through the economy and nobody steals some.

Chris: And pretty soon after we started breaking this story, the first news articles hit that-

John: And they made the first arrests the week this aired.

Chris: Yes, that's right.

John: And so- and there's Charlie.

Dean: Now, by the way, those of you who have the entire season, this particular hospital actually appears again in the season finale.

John: So are we doing the split, or we doing the-?

Dean: I don't know yet.

John: There you go. So you may have all the episodes, or we may be teasing you. I don't know yet.

Chris: Yeah, well. What was behind casting Charles Martin Smith in this? Cause it’s a departure.

Dean: We had worked with Charles Martin Smith on a mini series called The Triangle, and he was very good friends with our DP Dave Connell. And aside from being a wonderful actor, you may remember him from American Graffiti or The Untouchables, but aside he's also a really accomplished director. So when his name came up it was such an unusual choice for the role, but he was game to do it. And I got very excited cause I love working with him and he just did us a real big, solid favor by coming down from Canada and doing the part for us.

Chris: He’s fantastic.

John: Yeah. She's fantastic in this scene. This breaks my heart. I mean really. And the fact that Tim’s a dad, actually, really comes through here. I mean, he really, you know, when we were shooting this late at night, it was a very moving sequence-

Dean: And Tim really worked with her; he was very generous to her, and was doing a lot of off camera improv.

John: Well she punched her to get her to cry.

Dean: That was a little over the top.

John: That was a little much, but, I mean, it got us what we were looking for.

Chris: Welcome to show business.

[All Laugh]

John: Welcome to show business, Portland actors. It's actually interesting, too, this is the first example of a configurable set. That hospital room is basically every other set.

Dean: Oh after- this is the single most complicated shot I've ever done. I’ve ever seen done. This whole sequence is all one shot.

John: Yes. And this sequence, that the thing we do where we speed up, and then we turn around, we speed zoom through, is all done in post. Right. But when we get people to freeze, we don't freeze them. We tell them to freeze, and then we zoom the camera towards them at normal speed. That's Gary Camp walking. So this is four times in a row, getting 75 extras to freeze in place.

Chris: How many times did we shoot that?

John: With crosses. Just three times.

Dean: Yeah.

John: Yeah, cause the first time Dean described the shot to me, I was standing next to him on the set.

Dean: Then it turns into a 180- I mean 360.

John: Then it turns into a 360. The first time Dean described this shot I said, ‘You think this'll work?’ He went, ‘Yeah...ahh...I got a pretty good idea. It'll work’. I said, that’s like Moses standing at the red sea going, ‘I think we're in good shape here.’

Chris: Did you give Gary an epidural for [unintelligible] this? I mean, that was long time to walk this steadicam-

John: This whole thing is Gary Camp doing steadicam. This whole sequence, from when Nate walks into steadicam shot.

Chris: Yeah, steadicam is giant apparatus.

John: A 70 pound rig.

Chris: A rig that you're wearing.

John: Yeah, and not a lot of actresses would appear their first shot back in season 2 in curlers. That was very nice of Gina to do that for us. There's a lot of very good subtle stuff going in here. It was very interesting to really play the awkwardness. These are people who have not seen each other for a year, you know? And the family wants to get back together, but doesn't- None of them have the emotional equipment to do this, you know, which was a lot of fun. And this is where we establish the bar. And coming up- sitting around and coming up with the worst possible reviews for Sound of Music was good; it was a lot of fun. This is the first time we've seen a bar, and we establish that this is where Nate lives, right above. And this is the bar, and what was great, cause we talk about in a couple other episodes - the bar was really the secondary set and became our favorite set. I mean it really- it shoots well. It's interesting to move around in; we wanna meet clients there all the time.

Dean: One of the things that John always gives me grief about and always teases me, is that I really always like to shoot every scene that I direct like it was a feature film, and try to come up with these complicated moves and complicate blockings. And I had a whole other way of doing this scene, but in the first rehearsal, clearly, it was not possible to do in the time we had. And so Tim actually came up with this really great idea that they all sit around the bar, so I tried to come up with these wild camera moves around the bar and it just was self conscious and stupid and bad. And then finally in a huff I just went, ‘Alright, fine, I'll shoot it like television.’

John: And I'm sitting behind him, I'm like ‘Oh God help us we should shoot like a television show, Dean. God help the audience actually hear what the actors are saying and pay attention to the words for, like, a whole half a scene. Nooo. Rather than the camera flying around.’

Dean: But of course even then Gary Camp, our operator, and Dave Connell found a way to get little subtle movements.

John: Throwing them behind the L, and around the bar.

Chris: Yeah, always moving. Well the little elbow here, I think we shot, we probably had this shot in almost every episode.

John: Some variation of this.

Chris: I mean, we really- some variation of them sitting right around this corner.

John: And this is really where you see them start to fall into the family relationships, the rhythms. If you notice, it goes from Eliot to Hardison to Gina to Beth; it hops, like, right around and they're all right back in.

Dean: And it also immediately flips the dynamic from season one. In season one, Tim is trying to keep this team together and they're always ready to split apart. Here, we start the season with the team wants to get together, but it's really Tim that's not sure- Nate who’s not sure if he wants to be-

Chris: Now let me ask you, Dean. What’s the challenge when the actors haven't been together? I mean, for you as a director, how do you get them back into it?

John: Yeah, cause they hadn’t seen each other for like six months.

Chris: There's no training camp like the NFL.

Dean: I tell you, it's one of those things you really worry about, because you have the rhythm down so well at the end of the year and there'd been this long separation. But I think because we decided to shoot this season in Portland, it created that bonding just from the first couple days. Cause all of them were in a new city, all of them didn't know other people, so they immediately clung onto each other, and within seconds their dynamic just came right back.

John: Yeah, and this is where we establish the apartment. And who came up with the shiny-? The kettle is how we see the reflection, cause this was originally blocked differently.

Dean: Yeah I think- I actually think it was the stunt guy who came up with it.

John: Yeah, and this is murderous intent, if ever there was one.

Chris: Oh there it is.

John: It's a nice fight. You know, an awful lot does happen in the first act of this.

Chris: Oh, it's packed.

John: I will go back. And then- and what's interesting here is that when this aired, right after Sophie- Gina's Sophie does the headbutt, she says something in an accent, and a lot of people were like, ‘Oh Gina fuged the accent.’ It’s actually a subtle clue to what Sophie's real voice sounds like.

Dean: Right.

John: Also, Gina really hit Tim once. Remember she really popped him? She really popped him with the tray once, it was pretty funny; he went down like a sack of hammers. And this may be my favorite act opening in the season.

Dean: And in the script, we originally started with her pouring soda pop into her- into her cereal.

John: Yeah, the orange soda.

Dean: Which is a funny idea, but when we went to shoot it, we just thought it was so great to start on Tim; his eyes opening and just seeing a nun eating.

John: Yeah. It’s disturbing. And this is the first time we really found- and again, this is the first time we shot in these sets, and look how quickly we gravitated to that back corner.

Dean: Yeah.

John: You know, you really-

Chris: That’s the family part of the set. I mean the kitchen, the table right there, that's really where you feel it.

John: And this is a little thing there, too, where the- this is where it starts is, he never controls his kitchen again once they've moved in. Is that the fact he's got nothing but coffee in there. Again, it's the implication he's just trading addictions; he's not in any way, shape, or form dealing with stopping drinking right. He's just not good at it because he's too much of a control freak to go through the process. I like the little golf clap there, the little ‘good for you, you're a hero.’

Dean: This was also, you know, a situation where our first episode back in, and when Gina had returned to the show she was pregnant, and we had not yet decided whether or not we were gonna make the pregnancy part of the show or not part of the show. So in this episode we decided, well let's hide it until we make a decision. So part of the whole blocking of these scenes with her and wardrobe was always to conceal the pregnancy.

John: What Frakes said was the strike zone. It’s just, you're just working around the strike zone.

[All Laugh]

John: And there's a lot of info dump - a lot of clues here. This is a fairly complex one. I will admit that that's- in mine I really kinda go back to my failed attempt as a mystery novelist. There's always a long clue path in here. Yeah, and this is the ATM security camera stuff was great, too.

Chris: Yeah, its all-

John: Cause what it calls back later is the fact that London is the most highly surveilled one, but Boston is the same thing.

Chris: And they- our graphics guy did a great job with the stuff.

John: Yeah graphics did a great job

Dean: One of the relationships that really developed over the course of this year, more so in the back half, is the brother/sister relationship of Eliot and Parker. And, for me, this was the very beginning of it, is just the way he accepts-

John: “It’s Parker.”

Dean: “It’s Parker.”

Chris: Yeah. Yeah, yeah, yeah.

John: You never know why she might be dressed as something.

Chris: Yeah, and wasn't-? The model of this was like, the kids have gone to college and you finally- mom and dad finally have the house back, and then all of a sudden they're back?

Dean: They show up.

Chris: That's it. That was kinda the model.

John: Yeah, he got the place to himself-

Dean: He doesn't want to be involved. He doesn't want to be part of it.

John: And this is another- we talk about it in a couple of the other episodes, the Sophie/Eliot relationship became kind of one of the a nice [unintelligible mumbles] acts this year, and this was one of the first beats of it.

Dean: And this was an all improv little section here, which was fun.

Chris: Oh, look at this bank vault.

John: Look at this vault. Wow. Thank you, Portland.

Chris: Wow.

John: I can't say ‘thank you, Portland’ enough.

Chris: I know.

Dean: OK, so this is a scene, I have to say as a director, that I get on my hands and knees and thank John Rogers, because-

John: We've saved each other a bunch of times.

Dean: When we went to-

Chris: Tell us what happened here.

Dean: OK, that big giant vault door. This is a real-

John: This is a real safe deposit vault.

Dean: -safe deposit vaults and that door shuts every day and locks at a certain time. When we got in to shoot this, I didn't know that. So I start to block the scene, I'm lighting it, I'm getting ready to shoot the sequence, and suddenly they tell me you have 20 minutes before that vault door shuts and we can’t open it again until tomorrow. And I went into a full blown panic attack. I literally had no idea how to shoot this scene in 20 minutes, and John starts pacing behind me, he starts shuffling the dialogue around, shuffling- and was like, Here. Here's how you do it.’ I'm like, ‘thank you.’ And this whole scene was shot in 20 minutes.

John: Well it's one of the reasons you have a writer on the set.

Chris: Wasn’t there something with locks? Didn't you flip locks upside down?

John: What happened is, when you actually look at this, right? Those locks, you need keys to open this - you can't pick them. And the problem was, they don't close if they're not locked.

Chris: Right.

John: And so we had no way of faking one of these doors closed, but then I realized that those are two key bolts, right?

Chris: Right.

John: If you go on the inside of the door, and you take it off and flip it-

Chris: Right.

John: -the bolt side is now on the inside of the door, and the flat side is on the edge, so all Beth had to do was hold the door closed.

Chris: So they-

John: So it was just rotating objects in three-dimensional space.

Dean: Talk about-

John: That was a good day. That really justified me drinking, that was.

Dean: Talk about the writing. Because we had set up this relationship between the two of them that got a little hot and heavy at the end of season one, and you found a way to get a balance of it in this scene.

John: Well it was basically to reset. Because we- you know, to me one of the big mistakes of shows like this is progressing those relationships too quickly and you burn it out. And so it was really going back and looking, how would- Parker walked away. She spent six months on the road. Why did she do that? And it's because she thinks there could be something real here; she knows she's broken, and so she’s trying to explain why she needs that time. And the- Hardison will give that time to her. And it won't interfere with their friendship; it won't interfere with anything else and- but it allowed us to sort of restart this on a pace that was a lot, sort of, hotter at the end of season one. Cause, again, we didn't know if there'd be a season two, you know? We really wanted to go out of season one thinking, maybe they get together in the imaginary second season of Leverage, not realizing we'd be writing the imaginary second season of Leverage.

Chris: Almost instantaneously.

John: Almost instantaneously. Why is Tim in a towel here? This is- [Laughs]

Chris: The shirt/towel is an interesting combo.

John: The shirt/towel is an interesting combo.

Dean: Well originally I wanted him to come down in his underwear, and the thought was, is that he thinks that he's rid himself of them, and he thinks he’s alone, and his privacy is ruined.

Chris: Yeah.

Dean: But towel seemed better, at the end of the day, than skivvies.

John: Yeah. Yeah, really, especially, since you're shooting down that spiral staircase. It’s like not that, Tim Hutton doesn’t have a lovely set of legs, but I'm gonna go with you here. I also like how the wall of evidence is slowly taking over Nate's house.

Dean: Yeah, it keeps growing.

Chris: Well this is interesting, too, because I think we kind of early in this season, wanted to do things a little more low tech. We wanted to have cork boards and clippings and photos.

John: Well its cause how much we liked how the mansion looked in season one finale...

Chris: Yeah, we really liked that.

John: So probably, season three, you'll see a blend.

Chris: Maybe it’ll be a little more of a blend.

John: More of a mix there. And this is Eliot's first fight with the local stunt guys. This was a lot of fun. This, I think, is one of the first things we shot.

Dean: Yes. In fact, the day we shot this we had bright sun, we had dark rain, and then we had the worst hailstorm I had ever seen in my life, all within 15-

John: The city tried to kill us for, like, 15 minutes.

Dean: And I thought ‘This can’t be like what it’s like to shoot in Portland.’ But, of course, we never had another day like that again.

Chris: And guess what, Dean? Aren't we shooting in March?

Dean: Yeah. Good luck, season three.

[All Laugh]

John: A lot of interiors, a lot of bottle episodes.

Chris: A lot of gloom.

John: Always wanted to do a baseball bat fight, ever since I had a- The bartender that taught me to bartend in Montreal spent a good 20 minutes how to properly use a baseball bat in a bar fight. It's- the whole thing is, it's the inside and the outside; you block with the inside, but the bat’s really only effective for about 4 inches. Anything inside that is good. Ahh and the orange soda returns.

Chris: And I love a good refrigerator shot.

John: Me too!

Chris: Any shot from the inside of an appliance.

John: The inside of a microwave last year. That’s good.

Chris: I love that. I like that.

Dean: I love the fact that they're a mess; these people cannot clean up after themselves.

[All Laugh]

John: This is his house. HIS house. Nate Ford is a control freak, and look what they're doing to his house. And this was basically just giving them props and letting them go.

Chris: Yeah.

John: Like I’ve- what the hell is that? I would've never written that in a million years, but Beth just did. Coming up with the different 80’s references, that was a lot of fun and Nadine, our costume director-

Chris: Oates takes it on the nose.

John: Oates really takes it on the nose, doesn't he?

Chris: He really does.

John. And he’s the more successful one, isn’t he? He's the big songwriter.

Chris: There's nothing wrong with Oates.

John: Nothing wrong; just give Oates a little love, that's all we’re saying. This- how they’re sucking him in here, by the way, is actually something Dean does to me on a regular basis. Where he tries to trick me into working on something, go ‘just how would you solve this problem’ ‘I'm not helping you!’ About 20 minutes later-

Chris: It's an actual flip joke.

John: It’s an actual flip joke.

Chris: When you go into Dean's office, the screen flips. ‘Oh no, I'm not writing a pilot for you. No way, no how!’

John: ‘Alright, here's something you do.’ Cause he knows I can't- I'm obsessive compulsive. Much like Nate Ford, I can't help it. And what they're doing is, they know Nate Ford well enough that if you leave an unsolved problem in front of him-

Chris: This is very Rockford, too, right? Is that what this scene was?

John: Richie Brockelman was always doing that to Rockford.

Chris: Richie Brockelman was always coming to Rockford and Rockford was always saying, ‘Get out of here! Alright, lemme tell ya. If you wanna do this, this is how you do it.’

John: And the- Beth- That’s the first beat there, Parker realizing that Nate sober is actually more of a bastard, which is something that was in your episode last year, 12 Step. ‘Maybe when I'm sober, I'm more of a bastard.’ And this is where they realized, yes he is. He's a really unpleasant, vaguely sadistic human being. And as our protagonist, nicely done. And this is where he lays out exactly what you'd want to do- wind up doing. A con they've probably all agreed that they will do. And I love the looks. And this is also interesting, you had done the staging as the varying degrees of physical separation from Nate through the episode.

Dean: Right. Always trying to keep him separated until he finally joins up with them.

John: Yeah, so he's always back on the desk, or he's always by the fridge if they're by the table. No, it's like you put some thought into this.

[All Laugh]

Dean: Sometimes you get lucky.

John: Yeah. I do- we really made her wear the coat for the whole scene; that was nice. And they're, oh they're just sad.

Dean: I love the-

John: Yeah, the “oh if only we had 5” and there he knows. He knows he's screwed. No, it’s- it was kind of, also, on that day was kinda the day we felt like we were back. You know?

Dean: Yeah.

John: And- yeah and-

Dean: All the dynamics start kicking in again.

John: And they're all doing the banter. It is tough, six months down, you know, when you do 13 episodes. I mean, I'm glad we're on cable schedule, cause 22 would kill us.

Chris: But it's true, when there's a big lag like that, you know, you get out of rhythm. Everybody does.

John: Yeah.And that's why, probably, I'm glad we killed- Oh, never mind, that’s- you'll see that later.

[All Laugh]

John: Yeah, and there’s- yeah and again, there's that sort of Sophie/Eliot axis kicking up. Oh this is a ton of fun. I cannot get enough of them as FBI agents.

Chris: Yeah, I love this.

John: And this is again, streets of Portland. Charlie Martin Smith, by the way, little trivia bit for you, is the father of Buffy the Vampire Slayer. Charlie directed the original-

Chris: Is that true?

John: Yes, he directed the original presentation. The original dead pilot.

Chris: Oh, wow.

John: So, and this is something we do with Eliot a lot, we actually have him cross the background, cause he's terrifying. And so, just to give you-

Chris: We get a lot of mileage out of his looks. Both comedic and menacing.

Dean: And an unintentional connection in this show is in the previous scene, they were talking about how they got Al Capone [mumbles] and Charlie Martin Smith, of course, played the guy in The Untouchables who figured that out.

Chris: Oh yes, yeah.

John: Yeah. This was a lot of fun, was the- was talking about the micro explosives that they wound up using here; cause they exist and we were gonna try to get them. And then we realized that would put us on a lot of watch lists. And this is also one ofmy favorite things is Parker, yet again, not sure she behaved like a normal human and getting reassurance from Hardison or Eliot. That's who she always goes to for that. It’s like ‘was I normal?’ and then the little happy smile when she’s like, ‘I passed.’

Dean: Right.

John: And this is where-

Chris: Oh, this is a great comedy beat.

John: And again, locked-

Dean: These two guys together? Always fun.

John: Always fun. And this is a big comedy beat, too, this has got two or three takes. He’s fishing around in his pants, you know.

Dean: The idea of him blowing up Eliot's crotch is somehow funny.

Chris: And great- and great reactions to the car.

John: This take, this is- the thing is, we’re very lucky - and that’s a locked off comedy frame folks - is that we have all actors who can do comedic beats. And at any point, any one of them can land a joke.

Chris: Yeah.

John: And here we have a real Rockford moment, is him getting-

Chris: A real Rockford moment, gut punched into a chair.

Dean: This also shows you, right here in this next shot, why Portland was such a great choice for us.

John: Look at that, that’s huge!

Dean: We get so much production value there.

Chris: That was great.

Dean: And even in a large set like this, in the time we had, Dave Connell just knows how to light this.

Chris: Yeah, what's the challenge when you have something like this?

John: The production value ie-

Chris: This is a real crumbling warehouse, but in terms of lighting it-

Dean: That’s always a big challenge. Wut who joined us in season two is our gaffer, Neil Holcomb, who had worked with me on Stargate and some of my biggest films.

Chris: Oh cool.

Dean: And he lives up there, and so to put him together with Connell, suddenly we were, again, going feature film in television world.

Chris: Yeah.

John: But also, I remember because of the weather and stuff the first day, we shot all the stuff in here in two days. The second day, we had four crews going. And it was- it was like- you know, ordinarily, there's one camera and a B-camera, maybe, going. We had four camera crews running simultaneously just- and it was- and the- it was- the Portland crew was great, because people going and going up there, they don't have any experience doing television. They were scrappy, man, they were into it.

Dean: And Gina showed up with this character of Annie Kroy. We fell so in love with this character, it has to return.

John: Yeah, Annie Kroy comes back.

Chris: Now Kray being the-

John: The Kray brothers.

Chris The Kray brothers.

John: It was a reference to the Kray brothers. We always wanted to, and we never did it first season, let her play, like, a really hardass, scary British gangster. You know, the whole idea- and she's chilling in this - I really like this character, you know. I would watch Gina play this character on another show.

Dean: Gina brought her game this season. She really was on top of every scene she did.

John: Just bloody ruthless. I love her hair in this, too.

Chris: Yeah.

John: It's just cold. Also, the beat Tim does here, where maybe she is gonna throw him to the wolves, just to maybe give him a little bit of an example; that's nice.

Chris: Yeah.

John: Now the- and setting the hook, there's like five plots in this one, too.

Chris: Oh, yeah. Sure.

John: It's like the- there’s the bank con, there's the murder, there's the- there’s this, where it's basically they're buying out the businesses.

Chris: Yup.

John: You know, what they're basically doing here is a collateralized debt obligation on- it's a metaphor. It's not really much of a metaphor.

Dean: And fans of the show Brotherhood may recognize our gangster here from that show.

John: Yeah.

Dean: I fell in love with him on Brotherhood and when he was available to play our Southie here-

John: Chappie? Yeah, he was fantastic.

Chris: Yeah, he's great. I mean, I thought that our bad guys- every cast, top to bottom in this one, was fantastic.

John: And in, yeah, in this one little bargaining scene, the little look he gives her there, the look she gives back, she's playing a totally different character at this point.

Chris: And she totally- The great thing is, she totally takes over the room. I mean, that's a big crowd of gangsters and she makes an entrance.

Dean: And the little hint of Belushi here, where these go off.

John: Just a little bit, yeah.

[All Laugh]

Dean: And by the way, that laugh of Eliot's - he was watching the actual playback of it, so it was a completely genuine laugh.

John: Yeah. And then we scare this guy and then there's the flip. My God this thing seems insane.

Chris: Oh yeah, you forgot this.

John: 42 minutes. How was there-? What was I thinking?

Chris: How many twists and turns there are in this one.

John: And this scene I love. I will give our network credit for this. Michael Rice, [person], [person] and Lou McCartney- McCarthy are all like, you know, we'd like to see the little girl again - she's a great actress. But even, like, she’s a great character. They were reading the script, and we'd like to reset why they're doing it. And I bitched and moaned cause I'm a writer, and then wrote this scene and it's a great scene. It’s-

Dean: Yeah. And it really resets why they're doing everything they're doing.

Chris: Yeah.

John: And that idea, there are wolves in the world, is something that Tim and I have been talking about on the phone before the season started, talking about the fact that Nate Ford is just a wolf who hunts other wolves. That's who these people are. That's what you need in a dangerous world. And the fact that we were able to turn it in dialogue was great. She's also, I think as a reference being in this scene - she's chewing on a Saint Bridget medal and- that was chosen for a specific purpose. Saint Bridget is the patron saint of wanderers. And so, you know, when she gives it to him at the end of the episode, that's sort of a sign of exactly what his role is in the world: is to wander is to never have a home is to- you know, basically walk the earth righting wrongs. You know. And this is a nice, you know, again, a nice reminder of why we do this.

Chris: And this-

John: People just get away with stuff.

Chris: This was another change from season one, you know, these plots are so complicated that we tend to- They were like a boulder rolling downhill, and we would tend to lose kind of track of the victim in season one. And we- in season two we made an effort to make sure that there's a moment in the middle of the episode where we saw them.

John: Yeah, to make them really present. And to reset the tech again, just for new viewers, exactly how the earbuds worked.

Dean: Now fans of steadicam will appreciate, this is a particularly difficult steadicam shot. It's not that elaborate, but it has to go through a circle, then around a circle, bullet time out. This is actually a pretty complicated shot.

Chris: In terms of folks focus pulling, too.

Dean: Exactly. On a technical level.

John: Boom. And then you're out. That's basically Gary backing the hell up and keeping everybody in focus and then we speed it up in camera.

Dean: And then he follows Tim around as he makes his phone call. It was quite a difficult move. Maybe not the most impressive that you see on screen, but on a technical level, very difficult. And that shot, I think, is just absolutely gorgeous. Dave Connell at his best.

John: Well that's the shot Tim and I were standing- cause that was our first shot in Portland, is Chappie standing on the water there. Tim and I were standing there going, ‘I know exactly where we are in Boston. We’re on Quincy, we’re on Houseneck, we’re looking across.’ It really helped convince us that, you know, this was the right choice.

Chris: Yeah. Look at that, that's production value.

John: It's gorgeous.

Dean: These are two phone conversations going on simultaneously where the camera literally never stops moving.

John: Yeah. And you're welcome.

[All Laugh]

Chris: And then, I mean, Dean, are you-?

John: I love writing those cross cut scenes.

Chris: Are you cognisant- I mean, in this case the camera's always turning around. Do you try and orient the people when one’s on one phone, that they are facing one way and the other person’s facing the other way?

Dean: Absolutely. And that's the hardest part of it, is we try to keep track of at what point he's looking right-left, so that when I’m on the other side he's looking left-right. And this is one of the few times that John actually wrote in the script, ‘the camera is moving around the people. You're welcome Dean.’

[All Laugh]

John: You love a good 360, Dean. You love a good 360. I know, I actually called this one out for yeah. Yeah, and then this is the- in theory what we've done is, we've planted the seed and knowing that he would call him and summon him.

Chris: That's great.

Dean: And, again, an amazing looking bank.

John: This was in- the vault we shot in was downstairs.

Chris: And I love this shot, too, I mean, here we've got this beautiful movie shot.

John: A suitcase full of money, you know, where. You know, yeah, full of money that’s from the bank, that actually ties together. You forgot about that.

Chris: You forgot about that.

John: I was pretty drunk the whole time.

Chris: Just literally towards the end you think it's over and then there's a whole other 10 minutes.

John: I know the whole scaring the guy to go to the warehouse would be the end of a lot of shows, but we've got like three more plot twists.

Dean: And this is the big twist, that the guy that they thought was the main villain is not the main villain, and now they've gotta rethink everything they're doing.

John: Yeah, they've gotta call on the fly. That'- When things go wrong on Leverage, that's the rule. It has to be something unexpected yet believable, or they've succeeded too well.

Chris: You think it's the- and the great casting of Charles Martin Smith is that you think- you know, he plays-

Dean: Nebbish-y

Chris: Nebbish-y characters. You think he's in the pocket of the mobsters. Well little did you know, the banker’s calling the shots.

John: This is Nate calling the audible. We do this in the finale, Nate calling the audible and you have no idea what it is.

Chris: Yeah.

John: Yeah. At this point, the show becomes a closed mystery. Good lord. The- but what's interesting, also, is that we weren't making a very subtle comment about the fact that, you know, guys like this, Charles Martin Smith's character, the banker, they stole hundreds.

Chris: Who’s the real bad guy?

John: Yeah.

Chris: Right. I mean, that's really what this episode is about. Is it the mob guy that does rackets of-?

Dean: Hundred grand a year? Or the guy that steals hundreds of millions?

John: Yeah, exactly. And gets away with it. I mean, writing this evil speech of evil was- and this is the big first big Evil Speech of Evil for the year- was a delight because there's nothing he says here that's wrong.

Dean: That's true.

John: You know what? He's a good guy in his world view. And he's right in the way the world rewarded these guys. No man, when we were writing these-

Dean: He really nailed it as an actor.

John: Yeah.

Dean: He just delivers this scene.

John: And just from a directing standpoint, we ran out of time, so how did you shoot this whole sequence?

Dean: Multi-cameras in locked shooting. This was what happened was - we had two days here, and the first day we fell half a day behind because of the rain and the hail. So the second day, which was supposed to be a 7-page day, suddenly became a 12-page day.

Chris: Wow.

Dean: So we were running and gunning like never before.

Chris: Wow.

John: So yeah, rather than splitting this up into small sequences, which we'd originally do, we ran this scene from beginning to end, from Nate arriving with the briefcase, all the way to Chappie running away, to the reveal and just kept moving the camera. And ran it again and again and again with you moving the camera around to pick up the different angles.

Dean: And we didn't stop moving the camera either, so we always were in danger of one camera shooting the other camera.

John: Yeah. And oh, by the way, that's brutal on the actors. The actors basically have to deliver, without screwing up, an act's worth of dialogue here. Not a scene, an act.

Dean: It's almost like shooting a play.

John: Yeah, it was fantastic; they were just fantastic. And the blocking was- and then we see, yeah, you know, put a bullet in him and he's sick of doing his dirty work.

Dean: One of my favorite act outs.

Chris: Oh yeah.

John: Yeah, this is a great act out.

Dean: And really because of how Christian sells it. If you look at Christian’s face right here, he really sells that like he has no idea that was coming.

John: Yeah, and then the look to Nate like he's been-

Chris: Oh great.

John: Like, Nate fucked up. Yeah, it's a great act out.

Chris: Yeah, this is great. I mean, you know, and you think aren't convinced. People- when we screened this, people gasped.

John: Oh I love that reveal of Sophie. I love that reveal of Gina with that moment with the gun; and the smoking gun is so noir. To totally geek out, that's a totally Donnelly Dook moment right there. Yeah. and the secondary line, ‘We usually do it with a razor blade.’ You can totally see her standing in an [something unintelligible] somewhere cutting some dude’s throat.

Chris: Sure.

John: And it's hot. Yes. and then the phone- the phone it's funny, the phone is planted- Jesus-

Chris: Oh, the planted phone.

John: Yeah and getting him to do- this is one of Apollo's favorite things, by the way, is everything's set up, and he lets you do the last stage of the trick, so you have forgotten that he has handled the object.

Chris: Right right, that's true.

John: You know, and he's- give him something, give it back to you, it's all a matter of just getting people's attention span. We talk about this sometimes in the show, outside of the 15-30 seconds. Anything outside of that 15 seconds, they forget.

Chris: Yeah, yeah.

John: And then pinning swinging the blame around on him. No. It was really nice. And this was- basically we did research into the Whitey Bulger case and the whole idea that- and we played around with that idea for a while, that it was actually the mob guy who was the Fed.

Chris: Oh yeah.

John: The federal informant, was a real federal informant, not we fake him into it. Because the Boston mob was basically broken out by a mob boss who was a federal informant, but the feds protected him.

Chris: And he disappeared, right? He's still-?

John: He did disappear.

Chris: He's still out there.

John: And then elements of that show up in the finale. No it’s- and I love the bolt, just the aaahhh get him. And the-

Dean: And the gloat.

John: -the gloat. That's Dean’s big rule. His big rule is there has to be a gloat and also the villain must suffer. You must see the villain suffer.

Dean: Yeah, it's not enough to win.

John: And then punching holes- this was great, too. We just bought this truck- you see this truck get shot up a lot this year. We bought this truck and really just shot the shit out of it.

Chris: Is that true?

John: Yeah we did-

Dean: Well actually, we bought that truck and it was riddled with holes so we just covered the holes.

John: When you see it look good, it's actually been gimmicked.

Chris: Oh, that’s great.

John: And then we just kept- we put in the squibs.

Dean: How to do a lot with a little.

John: Yeah, exactly.

Dean: Beth is great in this scene.

Chris: She's great.

John: She's really terrifying. And so’s- and Aldis doing the Samuel Jackson. Every now and then he brings it out; it’s very nice.

Dean: This is also when we first establish Parker’s love of the taser gun. Which you will come to see again in later episodes.

Chris: That's true. That pays off later.

John: Well it’s like Parker’s found something that allows her to put people down without getting other people angry at her, and that's like a loophole in human behavior. Also, her enthusiasm- I don't know if we got the most gleeful look with the duct tape; there's one there that's kind of a weird mix of scary and dirty.

Dean: And this is my favorite steadicam shot of the episode. And again, whole scene done: one shot. And there's a lot of information that has to get tagged. You need all of this dialogue; we need these three; then we have to establish the body on the ground; we have to establish the gun on the table; we have to establish the money in the briefcase.

Chris: Was this steadicam a product of our time crunch?

Dean: Absolutely.

Chris: You see, sometimes when- sometimes when you're under the gun-

Dean: Necessity, mother of invention.

John: Yeah and then the whole, “clean up your own mess” - he's out. He takes the money. And that's another thing. That's one of the rules - the villain’s always undone by some version of his original sin. In this case, it's trying to kill the guy, but it's his greed. If he had left his money behind, he would've had a chance.

Dean: And I love- because they had to do this on the fly, he actually had to use ketchup packets.

Chris: Yeah.

John: That was a lot of fun.

Chris: And also making things pay off from act 1. That's, you know-

John: And Gina's glee there? That was really- that was really- I have to admit that's not how I imagined that line delivery, but seeing it in dailies, it was such a nice little ‘and we're back’.

Chris: Yeah.

John: This season two, we’re having fun!

Chris: I like to think she was channelling, you know, Gina the person, that she's back on the show and she's saying that-

John: Yes, exactly; a lot of fun. And the reveal. And-

Dean: This is also when we fall in love with-

John: Bonanno.

Dean: Bonanno. Who you will see a few times this season.

John: Multiple times this season. We actually found him really useful - to have a character who was a cop, who we could use as someone we threw cases to. You know, not really friendly, but kind of a neutral. Kind of a force for good within a system we say is pretty corrupt.

Dean: And frankly we found an actor who was so good, who was local, and we thought ‘well gosh, we got a guy this good in town, we gotta get him back again and again.’

John: Yeah, he was fantastic. He was very Columbo.

Chris: Was he a Boston native, or was he kinda just-?

John: No, no he was a Portland guy and he was doing a great Boston accent, and he was really Columbo-ing it up here. ‘I’m not a really smart guy. See if you can help me understand this.’ Yeah, he's really nailing it. And then we do the flashback, sort of, revelation.

Dean: I love that shot.

John: Yes, and this particular bit where she kisses the money, just a reminder that she has a distinctly unhealthy relationship with physical cash. And all of the evidence that he was trying to hide is in the briefcase you grabbed, cause it has money, it all falls together.

Dean: Hoisted on his own petard.

John: Exactly. That's the theme. And also, this is where we hang a lantern on the impossibility of this much evidence in one place because then it must be real; no one could put together a frame up this good.

Chris: Right. No one- nobody would frame you like this.

John: Yes, it’s a lot of fun.

Dean: And bringing back the briefcase-

John: Exactly, exactly. Wow we- there’s a lot of flashbacks in this one.

Chris: It’s a lot. And right now you're thinking the episodes over. Well you're wrong my friend; there’s a lot more show left.

John: There's, like, five more minutes to go. Yeah. I also love the choice there, that- cause I think the way it’s originally written is: he comes in, Bonanno comes in behind him. The way you blocked it is: he pulls back the curtain and Bonanno’s just there. This guy is dead from the second he walks in the hospital; he’s got no chance.

Dean: Right.

John: John McRory's place. And you actually see the waitresses recur; we got a lot of great locals to kind of establish continuity.

Dean: And I thought this scene ended up being surprisingly emotional, and really from the performances-

Chris: Oh yeah.

John: Yeah, yeah. It was- again, the trick we were facing this year was we had a lot of new viewers and we had to, kind of, re-establish what they did, but outside the context of the first season, which is where they had the actual law firm patina. So this scene had to kinda help establish this is what they do. They come in, they put the bad guy away, they help fix your life. And then they disappear. Yeah. And this is the- she really did a nice job here. It's sort of nice- you know, cause he had a son. He'd be about this kid’s age, you know? It’s a very paternal moment there.

Chris: Yeah. Right.

John: And handing over the cross.

Dean: And the path of the wolf’s line.

John: Yeah. We should've had- we should've brought the Saint Bridget's medal back in the finale. I should've thought of that.

Dean: There's plenty in the finale.

[All Laugh]

John: There is. There is. It's packed.

Chris: There's a lot.

John: There is a lot. Yeah, it's bigger than last year which makes me- which bothers me.

Dean: So season three, boy.

John: Yeah, no, season three. I think it's kind of a return to classicism.

Chris: Oh boy, what did we do?

John: When you go big, you go the other way - you go very small. Yeah, that's a saucy little-

Dean: Oh, and this was another element we brought into the season. We talked about changing the dynamics of relationships. Because in season one, clearly Nate and Sophie have had a history together. They- there was no reason for them not to be together, but yet they couldn't be together, so how does the next season begin?

John: Oh yes, with the boyfriend.

Chris: Yeah.

John: The boyfriend, which wound up truncated because- I think we were shooting this day when Gina found out she was pregnant. Remember? She told us during rehearsal.

Chris: Yeah.

John: And so the boyfriend was supposed to be a seasonal runner.

Chris: Was gonna to recur.

John: He was gonna recur.

Chris: But it's a great scene here that I just love.

John: Yeah it is.

Chris: I just love the -

John: -the look on his face.

Chris: Finally he's there, and he's happy.

John: Cause you know what? She’s right; he’s too fucked up to be

Chris: I'm happy for you one of those moments-

John: But he's right; he's not- he wasn't there, he's not emotionally available. He’s not, you know-

Dean: And this is what also brought in Andy Lang’s song which we loved so much, and we- and which comes back again because it actually becomes a character in their relationship.

John: The song?

Dean: Yeah.

John: The song is sort of the- the symbol of their relationship. And then this is the temptation. You know, to drink. And what I love here is, people go ‘oh that's great, he didn't drink.’ And what they miss is, speaking as someone with an unhealthy relationship with alcohol, this is absolutely the wrong way to stop drinking - just through sheer force of will, you won't win. Pardon me as I reach for my Guinness.

[Laughter]

John: The thing is- but Tim really dug in on this just to smell. Cause that's something we talked about, was the fact that- cause I was a stand up in New York, in bars, a lot. It's the smell. It’s really the smell of the bars, the smell of booze, that's the really evocative-, yeah.

Chris: Sure.

John: And then he just leaves the bill, walks away. It's a great ‘and the look and I'm done’. And he’s out.

Chris: And look at- look at the symbol, the Christian symbolism here, if I may get post-grad on you. Look at the cross, the catholicism of it all. And you think that the episode’s over, but it’s not! There’s still more story!

Dean: And just when you're thinking they're getting a little too soap opera here, and then-

John: The laughter.

Dean: Bring the fun in.

John: What I love is, this got exactly the response we wanted from the fans, which wass - ‘we know those screens!’ We know exactly what those are supposed to be. And again, this is, again, and this is-

Chris: And this got a great laugh, too, here.

John: Yeah when she brings back- And this was an improv, if I remember correctly. ‘I'm old Nate and I live here too.’ Yeah, no, they really dug in here. They love scenes where they get to torture Tim. They do.

Chris: Yeah.

John: Because it really is- he's a great straight man. Look at that glare. He's a great straight man. And that-

Dean: And I love bringing back the painting.

John: The painting pays off later. The painting pays off later in the season. And this was a lot of fun because we actually had to just cut through the wall. He hadn't really thought this out clearly. So that’s Chris Kane with a chainsaw-

Dean: Actually cutting through the wall.

John: -cutting through the set.

Chris: That's great. That's an iconic shot right there.

John: Right there, with the chain and the laugh. That's nice. That’s a nice moment, that’s the family back together.

Dean: And that is the beginning of season 2.

John: Yeah.

Chris: Oh, great episode.

Dean: Thank you for joining us.

John: That was a lot of fun, I gotta admit. That was a little crazy doing it; it was good to watch it again. Dean, anything to say before we take off?

Dean: Just that it was so good to start it off that way, and especially have you writing it. And this turned out to be a really great season. Not the season we thought were gonna make-

John: Not at all.

Dean: -but in a way even better.

John: Man, we have a lot of stuff for season three, let's put it that way. So thanks for joining us.

#Leverage #Leverage TNT #Leverage Audio Commentary Transcripts #Audio Commentary #Transcripts #Parker #Alec Hardison #Elliot Spencer #Nate Ford #Sophie Deveraux #Season 2 #Episode 1 #Season 2 Episode 1 #The Beantown Bailout Job

72 notes · View notes

bunnymcbunnister · 4 years

Text

SPN Season 15 Spoiler Sheet, update 10/3

Lots and lots of updates abound. I took out some old general stuff because this monster is huge (but it will only get shorter, sniff sniff) Spoilery goodness under the cut.

DISCLAIMER: This is gathered info from various sources. This is not confirmed information. Stuff in this WILL be wrong. Don’t take this too seriously. This is for fun. Also, if you use this info for another publication, please let me know as a courtesy. Don’t be a dick. It's all out there, but it hurts to see my same phrasing on other publications after all the work I’ve done to consolidate it…

General Info (oldest to newest). This is a blend of pre-COVID and post COVID, so some might change.

In an interview, Kripe indicated that the series ending would have “peace” for Sam and Dean

Misha will be in 15 out of 20 episodes this season (he’s missed 3 so far and I suspect will miss 14. Unclear about 16, 19, and 20).

Dean and Amara’s connection will be explored

JaxCon/Vegas Con spoilers:

Misha said the ending was “happier than he expected” but also had some sadness. He later used “sad and redemptive”

Misha mentioned that Claire will be mentioned on the show, but as of yet not appear.

Dean says the line “stop killing my people” (to god?)

Jensen said he doesn’t see how the story could continue past this season, but Jared said its more of “a see you later”

Al Cal posted a pic of a “thrown away” call sheet that seem to indicate Micheal, Lucifer, and a character named “Betty” interacting in the bunker. Unclear as to the validity, could be from 19 based on casting

Charlie (original flavor) will return

Filming resumed on Aug 18th. Per Canadian policy, they must quarantine for two weeks. Those quarantining seemed to include:

Fairly Clear: Jared, Jensen, Jake Abel (Micheal), Rob Benedict (Chuck/God) Mark Pelligrino (Lucifer), Al Cal (didn't need to quarantine, but he is definitely on set), Jim Beaver (Bobby)

Unclear/Rumored: Misha (he is being deliberately cagey), Osric Chau (Kevin- but likely for another project, he was a week ahead of everyone else)

Reasons Unlikely: Sam Smith (chemo treatment), Kim Rhodes (working at a camp during quarantine), Ruth Connell (posted from Malibu the entire time)

No idea: Shoshannah Stern

Jensen said sp 19 is more of a season finale, while 20 is a series finale. Repeated in interviews/livestreams.

Megan Fitz. complimented both Dabb’s and Glynn’s writing on twitter. Not sure if it is in reference to rewrites or the special retrospective that is planned.

Jensen indicated that the ending did change per COVID protocols. Later interviews (Variety) confirmed this, but it seemed to indicate the changes were in regards to how many people filmed at once (crowd scenes, recurring characters returning)

Misha is being very, very cagey about where he was. Some live streams seem to indicate he is not at home, but he has yet to confirm- his presence in 19/20 is hard to track. In an interview with Metaverse, he was in bed in a hotel looking space and you could see mountains in the background. He was not on set for the first week of filming, so he could be a week behind.

Misha has thrown around the words “final” and “what he <Misha> would have wanted” per Cas’ ending. “Sad/Proud” and “poignant” were also used. His latest line is “sad but satisfying”

The final episodes will premier October 8th. The finale will air Nov 19th in conjunction with an hour long special.

Dabb confirmed to TV line the episode 19/20 explanation Jensen’s mentioned- For the most part, we wrap up a big chunk of our mythology in Episode 19,Episode 20 is more character-based and is more concerned with Sam, Dean and this family they’ve built around them than it is with figuring out the Case of the Week.

When talking about the lightheartedness of returning on ep 14, Dabb said deeply depressing and upsetting episodes are coming (USAToday). He also said we would see “new sides” of Jack, Cas, and Billie. A revisit of Chuck and Amara’s “sibling issues” as well is on tap. Jared said sacrifices are coming.

From TV Line- re the battle with Chuck. Allies will return, buit was repeated several times in the article that is comes down to Sam and Dean. Jack will struggle with getting his soul back but will be helped by Cas.

It was confirmed there will be no appearances by mamma and papa Winchester, possible due to COVID. (TVLine)

A trailer was released on 8/27. Scenes included:

A moving speech from Sam to Dean

(Possibly from 18) A teary conversation between Dean and Cas

Injured Dean being helped by Cas in the bunker

Jack breaking some cuffs/bring thrown into a wall/saying he has to kill god

Dean and his grenade launcher and a purple nightgown

Sam in a sweater vest getting a gun from under a pillow

A glimpse of a body with “Lust” written above it/a matronly woman (I think the villain from 14) saying “Boys”

Ghose Dean? Little Sam cutting off a hand

Some intermixed scenes from past episodes

https://youtu.be/d5AzUa5zABI

A second trailer was released on 8/31. Scenes included:

A monologue from Billie about god coming to destroy the planet plus her banging on a bunker door (with her hand all gooey) and striking someone with her scythe

Jack continuing his speech about killing god but expanding that he has a ritual to do

Lots of red danger lights in the bunker/ 3 people getting tossed around in the bunker/Chuck in the bunker

Chuck saying he doesn't believe Sam and Dean can kill him

Young Sam and not ghost Young dean

Dean angrily driving the Impala then saying “its time”

Cas drawing his blade in front of an old truck to protect someone in a suit (Jack? I can't tell)

More Dean tears

A surprise appearance from Bobby

Some of the same scenes as before

https://youtu.be/mBTwCWkOFKw

A third trailer was released on 9/24. It was a rehash of the other two, but a new new scenes included:

A handcuffed Jack asking Dean if his plan will work, Dean cheekily replying, and swing a machete at the cuffs

More of Dean and his nightgown

Sam saying “it's our one shot”

A pair of werewolves/vampires?

https://youtu.be/7oVO9BdADnQ

A Shaving People, Punting Things trailer was released on 10/2. Scenes included:

Dean in a bar with a blond woman

Sam by the mountain lake with facial wounds

Sam in a birthday crown

Several scenes with Sam and Dean in a barn

Team Free Will 2.0 in a bunker corridor, Jack looking injured (?)

Cas digging near a stop sign

Sam, Dean, and Jack walking down a street/later in a church/in the Impala

Sad Dean in the dungeon/Sad Sam drinking and knocking over a book

Sad Jack and Cas leaning on the Impala

Scattered shot of Sad Sam and Dean (drinking in the bunker, learning against the Impala)

Sam/Donna hug

Sad Jack on a bed

Dean entering a motel room

Amara looking blissful

Dean giving Sam an encouraging face pat

Billie choking Cas

Sam and Dean shooting/swinging machetes/knives

Glowing eye lady in the bunker

Sam and Dean getting thrown around the bunker

Sam in Death’s library, hurting

Billie swinging a scythe

A bunker door getting blown up

Many behind the scenes shots, including one of Felicia Day (Charlie)

https://youtu.be/yex3jbuf8Mo

Episode 15x14

Title: Last Holiday

OFFICIAL SYNOPSIS: MAKING UP FOR LOST TIME – Sam (Jared Padalecki) and Dean (Jensen Ackles) discover a wood nymph (guest star Meagan Fey) living in the bunker who is determined to protect her family, at any cost. Eduardo Sanchez directed the episode written by Jeremy Adams (#1514). Original airdate 3/30/2020.

Written by: Jeremy Adams

Director: Eduardo Sanchez

Filming Dates:1/15- 1/24

Airdate: unknown- October 8th

Photos: https://www.tvinsider.com/gallery/supernatural-returns-season-15-episode-14-last-holiday/

Promo: kind of lumped in with the other promos

Sneak Peak: https://www.instagram.com/tv/CF0HK1blaFU/?igshid=o2ffwvgud56j

Sneak Peak 2: https://www.usatoday.com/story/entertainment/tv/2020/10/07/final-supernatural-episodes-lead-climactic-amazing-showdown/3632212001/

Castiel ? eh… I don't think so Jack ? yes

Guest stars: Meagen Fay (fae lady)

Other Spoilers/info:

Misha mentioned being at an airport the first day of filming, maybe he’ll miss this one

The director shared a BTS shot with AlCal’s chair in the background. He also posted on that looked like the statues in hell. Lots of filming at the bunker. A few impala shots were shared as well.

In an EW article, “a mysterious woman gives Sam and Dean every holiday they ever missed”

Episode 15x15

Title: Gimme Shelter

OFFICIAL SYNOPSIS: MATT COHEN DIRECTS – Castiel (Misha Collins) and Jack (Alexander Calvert) work a case involving members of a local church. Meanwhile, Sam (Jared Padalecki) and Dean (Jensen Ackles) go off in search of Amara (guest star Emily Swallow). Matt Cohen directed the episode written by Davy Perez (#1515). Original airdate 10/15/2020.

Written by: Davy Perez

Director: Matt Cohen

Filming Dates: 1/27-2/5

Airdate: unknown. October 15th

Photos: http://www.ksitetv.com/supernatural/supernatural-gimme-shelter-preview-images-released/205510/

Promo:

Sneak Peak:

Castiel ?yes Jack ? Yes

Guest stars: Emily Sparrow?

Other Spoilers/info:

There was some filming done at the crossroads with only Misha.

Alex and Misha filmed together

It seems as if J2 didn’t film at all the first week, Misha filmed six or seven days, is this is a Cas centric ep?

Episode 15x16

Title: Drag Me Away (From You)

OFFICIAL SYNOPSIS: FLASHBACK TO A YOUNG SAM AND DEAN – Sam (Jared Padalecki) and Dean (Jensen Ackles) are asked to investigate the murder of a childhood friend, calling them back to a motel from their past and perplexing the brothers with a case they thought was solved a long time ago. Amyn Kaderali directed the episode written by Meghan Fitzmartin (#1516). Original airdate 10/22/2020.

Written by: Megan Fitzmartin

Director: Amyn Kaderali

Filming Dates: 2/6-2/17

Airdate: October 22nd

Photos:

Promo:

Sneak Peak:

Castiel ? I think so… briefly? Jack ? not sure either.

Guest stars: IMDB credits Lisa Berry (Billie/Death) as well as Young Sam, Young Dean and both grown and young Caitlyn

Other Spoilers/info:

Alex got a cast of his face around the filming of this- so this ep or the one after

Looks like we get Dean in a robe!

They filmed at Rooster’s Sunrise Hotel for 3 days/nights

This is the flashback ep

From TVLine- “It worked not only as a case right now, but also as something that informed the journey Sam and Dean have taken, where they started as kids, how they kind of came together and then how that has [led up] to the point that they are, emotionally, when the episode airs. So it ended up being a really good reflection of our guys now, telling a story about our guys then, which, to me, are always the best versions of those types of flashback stories.”

Episode 15x17

Title: Unity

OFFICIAL SYNOPSIS: ONE WAY OR ANOTHER – Dean (Jensen Ackles) hits the road with Jack (Alexander Calvert) who needs to complete a final ritual in the quest to beat Chuck (guest star Rob Benedict). A difference of opinion leaves Sam (Jared Padalecki) and Castiel (Misha Collins) behind looking for answers to questions of their own. Catriona McKenzie directed the episode written by Meredith Glynn (#1517). Original airdate 10/29/2020.

Written by: Meredith Gylnn

Director: Catrion McKenzie

Filming Dates: 2/19-2/28

Airdate: Oct 29th?

Photos:

Promo:

Sneak Peak:

Castiel ? yes Jack ? yes

Guest stars: Rob Benedict and Emily Sparrow. IMDB credits Robert Wisdom (Uriel)

Other Spoilers/info:

Chuck and Amara trailers were seen on set when filming in a garden

Jensen was in NOLA Friday, possible Monday

“Uriel” was around for filming (Post COVID update: Misha seemed to indicate that this was because the actor was nearby filming? Not sure if this is to cover up the spoiler or the truth)

Alex and Jensen filmed in the imala

Episode 15x18

Title: Despair (it was The Truth at some point I think)

OFFICIAL SYNOPSIS:

Written by: BOBO

Director: Speight

Filming Dates: 3/2--3/11

Airdate: Nov 5th?

Photos:

Promo:

Sneak Peak:

Castiel ? yes Jack ? yes

Guest stars: IMDB credits Billie

Other Spoilers/info:

Misha and Alex filmed near the impala. J2 showed up later that night. This was the source of the “last time they all filmed on set” photo)

An really emotional scene was filmed with Misha and Jensen. Jared was definitely not there, but Alex was on the flight they took with Rich, so its possible he was too. This was revealed at a con in which the four of them were on a plane that had an in-flight problem.

Filming watchers saw a bro hug

Tape Ball posted a shot of field that looks like where dean came back from hell

Misha indicated this was his “favorite episode” in a recent interview

Episode 15x19

Title: Inherit the Earth

OFFICIAL SYNOPSIS:

Written by: bucklelimg

Director: John Showalter

Filming Dates:: 3/12-3/23/cancelled for COVID and then 8/18-8/27

Airdate: Nov 12th

Photos:

Promo:

Sneak Peak:

Castiel ? unknown Jack ? yes

Guest stars: Jake Abel (Micheal), Mark Pelligrino (Lucifer)

Other Spoilers/info:

Production shut down as a precaution for coronavirus on 3/13, two days into filming. It is scheduled to start again on Aug 18th.

Jensen indicated there might be some re-writes for this ep to account for COVID protocols.

When they started filming, they indicated they were on day two. So maybe they could only use some of the scenes they shot? Then they added an extra day all called it day 9. COVID protocols makes things take longer

AlCal was definitely on set.

Jake Abel is definitely on set, and he posted an instagram story with his trailer and Lucifer’s (Mark Pelligrino)

Some filming was done at a gas station called Showalter’s (name of the director) with Jared, Jensen, and Alex

Jake “Spoiler King” Abel filmed a video showing chairs for Jared, Jensen, and Alex as well as Rob Benedict (Chuck/God). They were filming near a lake with a mountain view (that looked similar to where Cas died in season 13)

Rob Benedict posted it was his last day in Vancouver, indicating we won't see Chuck past this episode? Or very very briefly in 20? Jake Abel posted a similar message, also baiting fans about Misha’s whereabouts

Scene “28” took several days and seemed to go across both 19 and 20? So they might have done some combo filming?

Episode 15x20

Title: Carry On

OFFICIAL SYNOPSIS:

Written by: Dabb

Director: Bob Singer

Filming Dates: 8/28- 9/10

Airdate: November 19th

Photos:

Promo:

Sneak Peak:

Castiel ? maaaaybe? Jack ? maaaaybe?

Guest stars: Jim Beaver

Other Spoilers/info:

Jensen indicated filming would take two weeks, longer than usual (looks like a 9 day shoot, with a day off for Labor Day)

According to Superwiki, 9/3 was the last day on the bunker set, the final days are on location.

Scene “28” took several days and seemed to go across both 19 and 20? So they might have done some combo filming?

Filming locations seemed to include a barn (pic with a stunt guy showed wooden walls and straw) and a lake (not the mountain lake from 19), and a forest. Filming signs spotted at Lower Seymour Conservation Reserve.

Jim Beaver confirmed his appearance on Twitter

There was a pic of J2 with baby on a bridge. Baby had her original plates. They seem to be wearing the same clothes they were in the pilot. There may be grey (??) In their hair, but that could be lighting

Misha posted some creation videos, saying he had been on an impromptu camping trip. He was back in his house. They were posted on the last day of filming and he had pretty decent scruff. He also mentioned that it was the last day of filming and he wasn't up there.

The show officially wrapped at 6:25 on 9/10

Jared said “the last time Sam and Dean see each other is the last time Jared and Jensen film together” but seem to imply that was not the final scene? It was a confusing answer to a question about filming the final scene.

IMDB credits a vampire?

#supernatural #spn spoilers #supernatural spoilers #spn season 15 #spn 15x14 #spn 15x15 #spn 15x16 #spn 15x19 #spn 15x18 #spn 15x20

11 notes · View notes