#and tension through whether scrooge will change or not..

[thursdayg1rl]

ready to kms in the hall when the Christmas carol question is how does dickens create tension

[soul-heart-and-beyond]

♡ ( Rip to our bones)

Send me a ‘ ♡ ’ and i’ll talk about what type of relationship i could see our muses having

(I’ll just make a copy of this for Ludwig and John to put on their own respective blogs. Though I’m not certain all of them would meet or get to know each other.)

Launchpad + Dewey

A brotherly bond that would practically rival that of his with Huey and Louie. Though he knows that Launchpad likes to try and spend his time with everyone, he’s usually ready to throw down when it comes to any sort of gig the two might have planned. Whether it be binge watching stuff, reading comics, discussing about fictional stuff, some outside sports here and there, and the like! Launchpad’s like the older brother Dewey wanted, instead of the one that he got, but he still loves Huey too. He just vibes more with Launchpad. Together, you’ve got an unstoppable, unforgettable duo!

Falcon + Dewey

(Taking in some parts of their first meeting and today’s episode) Just like how Falcon wants nothing to do with Dewey, the same goes for him. It’s not really the stiff and tight beaked personality that Falcon has, but just for how the both of them were eventually risking the other’s life by dropping them off of a large building (probably a small skyscraper to be honest). The boy isn’t traumatized by that, he’s been through worse, but associating himself with someone who’s always looking for that money, and somehow keeps pairing himself up with Mark Beaks unknowingly is probably someone that’s good to avoid.

Flintheart + Dewey

“Oof, it’s that one weird old guy that keeps trying to kill my great uncle and is.... super obsessed with him.”, Dewey would say before veering his head away from looking at the other. He can respect Flintheart’s tenacity and perseverance, after all, he’s gone through some of the same problems about not being taken seriously or given what he wants even though he’s probably either earned it or it’s common courtesy. but what he can’t is the other’s want for vengeance. So what if Scrooge made Flintheart what he is? He should be thanking the guy and moving on with his life, do some stuff that can be good to others instead of nasty plots and schemes on how to take out the recently richest duck in the world. And Glomgold can try whatever scheme he’s got in store for him, but Dewey will just have to be extra careful on what’s really important.

Launchpad + Duckworth

Something that was definitely transparent but revealed to show more consistency than some other unlikely pairings. It probably wouldn’t be the case hadn’t Duckworth died, since that opened his mind more to possibilities, and probably his time in the Afterlife did make him lose some empathy for a bit. However, by interacting and learning more about Launchpad, he’s recovered some of what he lost, and learning to enjoy the things that he had and didn’t have before. That and something else blossomed between them. Whenever they might have been conversing with each other, he’s started to find himself somewhat liking the duck’s qualities, and some of his faults even. Normally that wouldn’t have happened before, but then again, he’s grateful for how Launchpad does put up with him when he isn’t feeling too optimistic. Now he prefers to spend time with the pilot and is able to have fun once again.

Falcon + Duckworth

They are pretty similar in some aspects, which would normally be something that would help draw some people together, but not these two. Duckworth definitely has the edge on giving out more quippy remarks that the falcon may not appreciate, and is more than willing to go into a back and forth session if the other wants to participate. Yet another part where they may diverge is how they deal with loyalty and trust. Duckworth’s more devoted to those that are willing to trust others, be honest with people, and he’ll gladly do what he can to defend those that need a hand. Falcon is more os someone who doesn’t share those interests and beliefs, which does put them at odds with each other as Duckworth might ask, “Where is your loyalty? Do not say that it is as transparent as me for I can solidify mine. You can follow suit.”

Flintheart + Duckworth

One of the most unlikely people to really interact with each other, especially after how Duckworth died by Flintheart’s plan, indirectly. He still doesn’t like the idea of trusting and letting the other go free with what he’s done, but he also won’t take out the duck’s life as revenge for that would just be giving in to his anger and hatred over the years. Something that should not be listened to as taking one’s life as payment for another’s should never be the first option. If he wants to be better and not stoop down to Flintheart’s level, he’ll just have to let the duck be until he messes with him and his family again. However, now that he’s getting a bit of fun out of this, maybe taunting Flintheart with his own voice and physique wouldn’t be such a bad idea...

Launchpad + Fenton

“Is that really supposed to be some sort of joke? Because it’s not funny, Launchpad.” He really dislikes how Launchpad keeps trying to think of him as a robot, and he’ll keep trying to prove it to the other to get him to stop it. Fenton probably doesn’t know that it could be just mild teasing from how they first met, but it should make sense since Launchpad met him when he was Fenton first and Gizmoduck second. But, he does like it whenever they do veer away from that topic and talk more about mechanical things, and maybe a little more, considering that Fenton himself is a little bit of a superhero fan and has some stuff o his own to share with Launchpad. Though he may not like Darkwing Duck....

Falcon + Fenton

It’s certainly going to have some gray lines of tension here since their introduction is not going off on a good start. While he can commend the other’s dedication to their work, he can’t really defend or appreciate how Falcon likes to see everything so bluntly, black and white, but he’s somehow the only gray out of all of this. It’s selfish, bias, and more importantly, rude to other’s and how they could be able to change, but for Fenton, he just sees this as Falcon’s excuse to continue doing what he does. It might be something the professional tells himself to get away from facing the truth for the things that he’s done for his previous employers. It’s one thing to put the blame on others, but it’s another to try and separate yourself like you’re better than them but just do what you’re paid to do, and that’s what keeps them from having any really positive conversation. Sure, they can make fun of Mark all they want, but that isn’t going to make the problem between them go away.

Flintheart + Fenton

Flintheart would probably be the last person Fenton should really interact with, if not him then Mark, but given how he’s always willing to lend others a hand with his ideas or just be an overall nice person, something’s bound to go wrong. He hasn’t really gotten any instances where he could see Flintheart’s evilness and hatred on full display, and the faux funeral for Scrooge doesn’t really count since he only got to see Flintheart just do some disrespectful dancing. Besides that, he tries to believe that everyone, even Flintheart can change for the better too if they want to, like those anger management classes, and he’d be happy to help the rick mallard with that, but working for him might be something that he won’t allow. Given that Glomgold Industries probably doesn’t have that many appealing aspects to them and he rather not feel like he’s betraying Scrooge and Gyro after what happened with the Waddleduck incident.

Jim, Negaduck, Black Arts, Garbonzo, Brandon, and Rubber Chicken are down below:

Launchpad + Jim

Now who coulda saw this one coming?! A washed up star and his favorite number 1 fan that still remembers him upon the countless others that have forgotten him? You bet that Jim would love to get a taste of what it feels like to be a star again, even if it’s from one person. However, he can’t let that go to his head as this is practically the only one he’s got left that really cares, despite all the fainting. But, it might not hurt to have someone to bump heads with when it comes to returning to his role, for real this time...

Flintheart + Jim

While trying to give the real life Darkwing Duck gig a try, he finds that it’s definitely not as easy as it was on set, but that’s to be expected. Real life isn’t a game and neither is the battle between good and evil! Sure, he’d loved to be sponsored and given money by anyone that would fund a revival campaign of Darkwing Duck again, but he also cannot let the actions of Flitnheart Glomgold go unpunished. He doesn’t care how many times he’d have to put the duck in jail as long as it gets Flintheart to stop trying to be such a terrible member of society, and maybe not find out who he is in the process so he could get some of that good green moolah.

Launchpad + Negaduck

A reverse palette swapped Darkwing Duck that’s also sporting some different liberties taken on the iconic Darkwing Duck design? It might be a little odd, but it could be interesting that the guy chose a more striking set of colors compared to the cool and night patterned colors of the original. However, the black does help and oh wait, this guy’s going on about stuff that hasn’t happened here? What’s a Negaverse? Why does this guy sound like he knows him already? Ah, it’s just a weird Darkwing fanboy. 

All of this is most likely going to get Launchpad put on Negaduck’s permanent to kill list, and he doesn’t care how long it takes, he’ll abuse and bruise the until he can get that satisfying moment, but it may take a while, and patience is not something Drake really has a lot of. Not for idiots in his book anyway.

Falcon + Negaduck

A well know Public Enemy in one universe and practically the ruler of his city in his own, up against some orderly goon that knows how to handle himself in a fight against many odds and situations? Negaduck may like the fact that Falcon can handle himself, but he’s not gonna like it when Falcon uses that to prevent him from doing whatever he wants. Hopefully Falcon can count those with unchecked rage again, as this condiment colored duck is another one of those with anger issues.

Flintheart + Negaduck

It would be Elegance in Violence, but for these two? Nah, just go wreck stuff up and don’t care about it. Drake can really admire the rich duck’s taste in senseless violence, but doesn’t like that he sets his sights on someone so low like Scrooge McDuck. What’s there to that has been that’s dangerous? He could probably take on the whole family with enough planning and resources, so why hasn’t Flintheart done that already? Another thing that might separate them is how that Flintheart isn’t as willing to go through with his plans unlike Negaduck. When Drake wants you gone, he’ll try to find a way and he doesn’t care how as long as it’s got class and you know he’s the one that killed you. He won’t cower, and even if he did, there’s usually a plan behind that.

Launchpad + Black Arts

It would seem pretty unlikely for Launchpad to try and befriend a Beagle Boy, most people wouldn’t given their family background and reputation, but Black Arts is happy to have someone outside of his family or his teacher to talk to. It gives him a chance to have a life, a mind outside of what his Ma wants for him, and while his teacher is cool, it’s always good to have more people to talk to to feel less isolated from the world. Sure, he’s got the internet to help him on that, but for face to face communication or interaction... not so much. Still, he like Launchpad and is willing to show him some magic someday!

Duckworth + Black Arts

It’d be really against his liking to let Duckworth get away with the embarrassment that happened the night he was summoned back by him, but he can’t help that for some reason, the ghost is apparently getting him to laugh, talk about stuff that normally he wouldn’t spill, and overall trying his hardest to ridicule him, but still treat him differently than the rest of his family. What, did the demon like him or something? And why did feel like he was having a good time with the butler? Maybe it’s probably because he didn’t have someone to fill that father figure role in his life...

Flintheart + Black Arts

Now this is probably his first real employer, but that might not last long once he knows more about Flintheart like from what his mother would tell him. Then again, he got a glimpse of that first hand at Scrooge’s birthday party. Black Arts is really iffy about this loose nut as while he’s loaded, the things he tries to do are far out of any sane person’s range of commitment, and he feels like he should do the same.

Launchpad + Garbonzo

While they haven’t met yet, Garbonzo would find Launchpad to be really an oddity of sorts for how sunny he can be, but still like that about him. Maybe not some of the more oafish parts, but then again, he can be clumsy too at times with himself or others. However, he’s wondering how Launchpad has been helping Black Arts in terms of creating friendships with other people, and even more interested in whatever magic is surrounding Launchpad. It’s not normal, and it doesn’t seem like there would be any good to come from it either.

Launchpad + Brandon

Now this is an annoyance for the buzzard as he would really want to try and stay away from the clumsy pilot. A sunny personality like his is nice, but that isn’t what someone like Brandon deserves, and he knows it. So, the best way for them to still be them is to stay away from each other, as the more and more that Launchpad might be around Brandon, the more and more Brandon will try to push him away. Hopefully bringing to light that not everyone will be your friend, or want to anyway.

Launchpad + Rubber Chicken

Whenever Clovis will meet Launchpad, either OG or a new DT17 reboot, it’s most likely going to be that one tough but simple minded goof with his thin and nimble worrisome ward. Well, Clovis isn’t really the ward type, but you get what I mean. He’s most likely going to open up Rubber Chicken to taking on new dangers if he can get past tackling the fear of them, and have someone to talk to for advice whenever he needs it as Clovis is a nervous wreck.

[dregstrash]

“our christmas party turned into a tropical theme because the radiator is broken and it’s hotter than hell in here - damn you look good without a shirt i never noticed before asgdhfjgkhl”

I was tagged by @daniellepal to do some holiday fluffiness and I mean this is semi-canon so why not. I tried my best.

Modern Kanej AU

----------

Crow Club Inc. was a multimillion dollar trading company. It traded in the New York Stock Exchange, made deals with billionaires, and had offices in many locations all over the world. So Inej couldn’t understand why on Earth they couldn’t have their bloody radiator to work especially on the most crowded party of the year.

Inej had only been hired two years ago, as an outside consultant, but she had suffered through enough awkward office parties to know that if there was one party that needed the powerful chill of their air conditioning, it was their Christmas Party. But either Haskell, owner and CEO, was skrimping again or the old radiator had finally given up on this world. No matter the case, Nina’s carefully planned Winter Wonderland themed party was out the door, and a hastily improvised Floridian tropical paradise took its place. Unfortunately, the memo didn’t reach everyone so what resulted was a mismatched clash of heavy coats and gaudy floral patterns.

“There, at least you look on theme.” Nina came up to Inej and tucked a plastic flower behind her ear. 

“It would seem I’m one of the few.” Inej smiled looking down at the borrowed red Hawaiian shirt that used to belong to Nina. It was large enough that Nina had wrapped a spare belt around her waist and managed to create a makeshift dress that was a little shorter than Inej was used to. When pointing that out, Nina had merely shrugged and gave a wink.

“It’s not my fault that Haskell is a cranky old coot who couldn’t be bothered to pay for a replacement heating system. Besides, I’m not minding so much now.”

Inej followed to where Nina’s gaze had wandered, and she shouldn’t have been surprised to see Matthias Helvar, the overly muscular, overly formal chief strategist, starting to take off his heavy Christmas sweater revealing the sweat-soaked white undershirt that was sticking to him like a second skin.

Inej rolled her eyes, and walked away before Nina had a chance to leave her first. While Nina just like to flirt her way through all the departments, she had taken a particular liking to the only man who seemed to fight every instinct to ever notice her. The two were explosive on their best days and decidedly icy on their worst. But looking at the way Nina was studying the young man made Inej think that one way or another Helvar was going to get cornered. And Inej hadn’t decided whether that would be a dream come true or his utter nightmare. 

She made her way through the party, trying to make small talk with her other coworkers, but inevitably Inej found herself with her back against the wall and a soda nursed in her hands, being content to be the wallflower for a while and watch as the heat turned up higher and the party continued on. 

After all that Inej’s been through, she couldn’t have imagined ending up somewhere she could have been happy. Doing what she does best and gathering data and information from all over the world and meeting people who could be her own family. She loved Nina and her energy. She had a few great conversations with Matthias every once in a while. And she even started to get to know Wylan, the new hire who was a wizard with numbers. It was even better because he just started dating Jesper, Inej’s first friend at the company. 

“Brekker! Can’t you do something about this heat?!” Inej heard Jesper’s drunken yell and stifled a laugh. 

Inej was sure that Jesper was the only one who could talk to Kaz Brekker as if they were friends. As far as Inej knew, Kaz Brekker had no friends and he seemed determined to keep it that way. He may have only been twenty-one, but Brekker was Haskell’s protege and an utter genius. He seemed to know things about the market that nobody else could guess or predict, and had launched Crow Club Inc., from a rundown building to an international success.

He was the one to find and hire Inej, and since then he went to her for advice, he sent her on assignments, and seemed to rely on her for things that seemed to be outside her grasp. But she managed and working with him had taught her so much about the tricky business of the stock market, the endless pit of greed of men, and the ruthlessness that was sometimes necessary.

“If you want to do something about the heat, Fahey, you do something about it.” Kaz’s rasp shouted.

“Gladly!” 

Inej watched as Jesper stripped off his shirt and laughed out loud at the bright red color that rose to Wylan’s face. That seemed to rub off on the rest of the drunken partiers because by the time the heat had climbed up to sauna levels, everyone was either half dressed or getting there.

She was suddenly very grateful for the makeshift shirt-dress that Nina had made. Inej felt the sweat build up on her upper lip and on her brow, and if she hadn’t just promised to be the designated driver for Jesper and Wylan she would have left this hellish heat that was this building.

“I’m surprised your still here, Wraith.” Kaz said as he came up beside her. She didn’t turn her head.

Wraith, the nickname she had apparently earned after she had gotten unattainable inside information from the competing company belonging to Pekka Rollins. 

“In and out like a ghost, looks like a bonus is in it for you this year, Wraith.” He had said. She had rolled her eyes, trying to let the flush of pleasure at his attention roll off her shoulders. 

Inej did try to keep her distance from Brekker. But he needed her to be his shadow. To have ears open and watchful eyes at important meetings or inside another company’s walls. And she wasn’t completely blind, she noticed the sharp lines and tailored edges that formed his face and the way that his dark brown eyes analyzed and calculated everything. 

But even with the face of some dark angel, he was cold, cruel, and entirely-obsessed with money-- or that’s what she told herself. Because even with all the reasons to not have feelings for Kaz Brekker, all it took was the smallest hints of his whole trust in her and her trust in him to break those walls down.

“I didn’t want Jesper and Wylan to die in a fiery crash, so I offered to drive them.” She said simply sipping her cup. 

“Always the noble one,” The rough timbre of his voice vibrated through her and she wanted to close her eyes and revel in it.

“Someone has to be.” 

“One can’t be rich and noble, dear Inej. And between rich and noble, I’d rather be rich.”

Inej scoffed and turned her head to give him a searing look, but then stopped short when she noticed that Kaz wasn’t wearing a shirt. Kaz Brekker, the master of the fine Italian silk, the young man who had a very specific personal space issue, and the champion of keeping it professional was not wearing a shirt and that very fact alone knocked Inej’s breath out of her chest.

The hard planes of his chest and the pale muscles of his abdomen were gleaming dimly with sweat, and his hair was pushed away from his face in an effort to keep the sweat away from his face. Lean corded muscles were unfairly put on display as he leaned against the wall next to her with his arms crossed, and when a drop of sweat rolled from his brow down his neck Inej couldn’t help but stare at it.

Inej coughed uncomfortably, trying to grasp at something to say.

 “A-All the money in the world and you couldn’t afford to fix the heating?” She finally muttered.

At this Kaz’s shark eyes roamed over the barely dressed, sweating crowd, and fell back on Inej. He felt his gaze take in the length of her dress and the smooth curve of her neck, and it wasn’t until his eyes met hers that she realized she was holding a breath.

“I’m not sure all the money in the world could have given me quite a view like this, Wraith.” 

He had walked away then. She didn’t know to where or what he was going to do. But she followed his movements, watching his muscled back, as he dodged the sweaty bodies and left the room entirely that she expelled the tension. It wasn’t until the temperature in the room miraculously changed after his disappearance that Inej fully processed what had just happened.

Kaz Brekker had complimented her. The cold-hearted Scrooge of Christmas had come up to her half naked and looking like a man strewn from stone, and complimented her. And for what it’s worth, Inej just drank the rest of her soda and almost wished that the heating would be broken forever.

[peachhoneii]

Before the Gala

A/N: I know my predictions for the episode are 90% wrong. For now, this is my theory on the episode’s beginning. 

@donaldtheduckdad, @itsliztheripper, @koizumi-marichan, and @starbutterfly-diaz because I think you may appreciate this, and I made some grammatical corrections.

Scrooge had no reason to attend Glomgold’s Gala, so Louie found one for him.

Two months. For two months every news outlet, social media account, and television host theorized over the long anticipated Glomgold Gala Event 2017 official list.

It was not one of the most exclusive events of the year, but the exclusive event of every year. The platinum elite above the gold elite were invited, and Glomgold was thoroughly decisive in his choices. Wealthy, renowned, influential, infamous, not necessarily in that order were welcomed to participate in the glamorous world portrayed on their television, computer, and phone screens, if only temporarily.

Of that exclusive and extensive list, Scrooge McDuck topped the number of countless names every year, and every year he declined, jabbing his cane into the cameras, “A real trillionaire would knae better ta’ waste money on frivolous extravagances!”

For the past seventy years this had been his automatic response, ever since the first Annual Glomgold Gala was held in the winter of December 1947. Every passing gala was no different. His answer was secured for 2017, but the world seemed insistent on repeating the same question at his and the viewers’ expense.

“Will Scrooge McDuck finally make an appearance at the Glomgold Gala 2017?”

“Ae’d be rich today, and Ae’ll be rich tomorrow.” Slamming the door behind him, he parked his bottom at his desk, opening investment folders he had neglected to review, “Ae see no point in wastin’ me time and money at some silly gala!”

His shout echoed outside the closed door, resonating on the walls, and hitting the first floor with the firmness he intended. The nerve of some people. Reading through this month’s and the past month’s forms, he knew he shouldn’t have been too upset. They were children after all, and children tended to fawn over such eccentricities, disregarding their unhealthy influence.

Especially a certain one named Louie Duck. It was not surprising in the least to see his great-nephew’s phone thrust in his face, an article describing in detail of the recently announced Glomgold Gala list. Louie was one breath away from reciting the names when Scrooge snapped his cane to the floor, silencing any future attempts, and marched upstairs, grumbling about lost minded generations and a desperate Glomgold.

Soon, his disgruntled thoughts traveled to work, and the tension in his shoulders, neck, and back lessened. Work tended to do that to him in a way adventures failed. Carried on an easy flow, he didn’t hear the pitter patter of webbed feet climbing the stairs. He certainly didn’t hear the door opening with the softest creak.

He’d finished the previous month’s review when a burst of green popped into his view, “Jabiru Tutera is the coordinator! He’s like the most amazing celebrity coordinator alive!”

An automatic response, Scrooge peeled back into his chair, gripping the arms just as his heart rate picked up speed 10x than normal.

“Are ye’ tryin’ ta’ give me a heart attack!” He reached to grabbed the phone and snarled at Louie’s quick dodge, “Louie Duck, Ae’m tellin’ ye, Ae’ll be caught dead at that party!”

“John D. Rockerduck is going there with Jeeves,” running around the desk, he clutched Scrooge’s chair in a solid grip, digging his feet into the back for balance, “and everyone knows they’re like the cutest couple.”

Scrooge rolled his eyes, placing his elbow on the desk while fisting his cheek into his hand.

“Roger and Jessica Rabbit, Goldie O’Gilt, Bugs Bunny -,”

His eyebrows rose to the crown of his forehead, “Wait, boy, what’d ye’ say?”

Caught off guard, Louie looked up from his phone with a blank stare, “Oh yeah, he’s got the best of the best - not counting what’s already here in Duckburg. Hollywood, Acme Acres, -”

“No boy, the list!”

“Roger and Jessica Rabbit?”

“No.”

“Bugs Bunny?”

Scrooge slapped his forehead, “No, the middle one!”

“Goldie O’Gilt?”

“Yes!”

Scrooge slammed his hands on his desk, standing suddenly with wide eyes and a daunted sweat, “Why?”

“What’s wrong?”

“Ae mean...why’d she attend?” Mental gymnastic assaulted his brain. 

Goldie was never on any of the previous lists. Was she? He’d never taken the time to look. Had she attended any of them? He hadn’t bothered to check.

Scrooge knew her. Past experiences told him her appearance meant more than Glomgold’s expectations. 

He crossed around the desk, hands wrapped behind his thought, a frown perched on his beak. Louie dwindled in the background, dropping off the chair. He watched Scrooge’s expression devolve into a fit of anxiety, irritation, and subtle, so subtle Louie noticed it scurry underneath the folds of his wrinkles, excitement.

“Uncle Scrooge?” Too young to understand the complexities of this excitement, he stepped to his uncle wearing a question in his stare, “Are you okay?”

Scrooge’s pacing ceased. He stared down at the boy blankly, wheels turning, and suddenly, gripped his shoulders, pushing him out of his office.

“Get yer brothers’ heights, Louie,” Scrooge instructed.

“Why?”

“For the Gala of course.” He answered, “Ae’ll inform Beakley of the arrangements.”

“Why the change -,”

A closed door was his answer.

Standing in the corridor, a million and one questions developed in the silence. Louie glanced at this phone, scrolling down the list of more than one thousand people. He held his finger at O’Gilt.

Too young to grasp the complexities of life and romance, Louie detected the unfamiliar intensity in his uncle’s face when he heard the name. A special type of excitement, a special type of cunningness as he began planning their attendance. He didn’t even question whether they’d, he and his brothers, be allowed entrance.

One hand tucked in his hoodie pocket, Louie mused about the unusual instance in his uncle’s office.

He broke into a sprint, “Hey guys, we’re going to the Glomgold Gala!” 

He ran the rest of the way, excitement bubbling in his stomach. 

He blurted to his confused siblings, bouncing on his feet as possibilities orbited his brain, “Height and width, dudes, we’re going to the Glomgold Gala!”

He’d ask Webby later.

[alilactree]

Humbug!

Part Six (One / Two / Three / Four / Five)

Klaine Advent: Year

Let’s all just pretend like I finished this in time, okay? Okay.

Christmas comes and goes, and with it the last gasps of Blaine’s hope. He tried so hard, even debased himself by asking Cooper to help and for what? The play is dead, his relationship with Kurt a nonstarter, his determined optimism as gray and trodden as the snow pushed up against dumpsters and curbs. A fitting crummy end to a crummy year.

“Welcome to the Spotlight Diner, I’m Blaine your singing waiter for the evening can I start you with anything?” Blaine rattles off, robotic, clicking his pen to start the order and scowling at the faded scribble it produces. Of course his pen is running out ink. How apt.

“Is there anything here that won’t give me a coronary?”

Blaine knows that voice. “Kurt?” Kurt gives a quick little smile, then glances back down at the menu. A coincidence, that’s all. Kurt didn’t come looking for him because there’s no reason to, no Humbug! A Christmas Carol Musical, no them, no hope. 

“Um," Blaine says, flipping Kurt’s menu over for him. “There is a salad. If you order it without the fried chicken strips and croutons and onion rings…”

Kurt hands the menu over. “I’ll take that then.”

Blaine barely gets Kurt’s order in when there’s a request for a Katy Perry song. Those always go to him, but he’s having a hard time mustering up the energy needed. Not even Katy Perry songs are cheering him up, things are that bad. Still, Blaine is a performer, sort of, so he puts on his show face and gives it his all anyway. He keeps looking at Kurt during the song, though he doesn’t want to. This isn’t the stage he wanted to be at, literally and figuratively. It’s embarrassing.

“One fried chicken and onion ring salad, minus the fried chicken and onion rings.” Blaine sets the food down quickly, doing his job and no more than that, but Kurt calls his name before he can scurry off.

“You were really good up there,” Kurt says, peeling the paper ring off of his fork and knife. “Not that I’m surprised.”

Blaine thanks him and looks down. He’s having trouble believing whatever Kurt sees in him, saw in him, lately. “That’s kind of you.” Blaine says politely, heading off to his other tables. Kurt stays through Blaine’s entire shift, picking at his salad and texting with someone, his eyebrows furrowed and mouth pulled flat. Blaine wants to kiss the tension from his lips, make his eyes twinkle with a laugh. He has nothing to offer but water refills and a dessert menu.

“All right,” Blaine says, taking a chance once his shift is over, sliding into Kurt’s booth on the opposite side. He almost just left, ignored the pull towards Kurt, the tiny glimmer of something he feels when Kurt looks at him. Whether it’s hubris or that stubborn, stupid determination that’s kept him going this long, he decides to talk to Kurt instead. “So you’re the slowest eater in the world or you wanted to talk to me…” Kurt arches an eyebrow. “Or I’m way off base and you were just busy working and I’m an idiot.” Blaine slides across the booth to leave, reaching for his apron.

“No,” Kurt darts a hand across the table, touching Blaine’s, then pulling it quickly back. “I did actually want to talk to you.”

Blaine nods, settling back into the shiny vinyl seat. “Okay.”

“Okay.” Kurt heaves a breath. Is he nervous? The commanding and confident big shot director Kurt Hummel is nervous… About Blaine? “Look, I know this was a fun little fling with the director deal and now that I’m not your director it’s—“ He flicks his fingers, as if casting something carelessly away. “But I was hoping you’d be interested anyway.”

Fun little fling? Wait. “Kurt, no I—“

One of Blaine’s coworkers chooses that moment to launch into You Give Love a Bad Name, which is seriously so ill-timed; interrupting Blaine and drowning out his protest. Kurt’s face falls, and he takes out a business card from his coat pocket, scribbling something onto the back with the crappy pen from Blaine’s wadded up apron. He’s gone before Blaine can grab his stuff and scoot out from the booth, gone before Clint finishes wailing the chorus way too enthusiastically.

If you change your mind… The card says, he thinks, the ink fades in and out on the words. There’s a barely legible date, and half of a time. Then the… something something theater. Blaine holds it up to the light. The theater? The soon to be a parking garage theater? The theater that will be no more, where they almost had the play that never was?

Weird.

The day comes, and Blaine’s best guess at the time. He's had a week to puzzle out what’s going on and is no less confused as he approaches the theater. It looks the same outside, not a construction zone just yet, and inside—

“Scrooge!”

Blaine blinks, adjusting to the darkness inside. Only the track lights on the aisles are lit up, the few exit lights along the walls. As if a show is just about to begin. He approaches the stage, more confused than ever. “What are you guys doing here?” The entire main cast from A Christmas Carol is gathered on the stage, plus Rachel.

“Nobody knows,” Mercedes says. “Kurt just asked us all to come.”

Blaine hops up onto the stage to join them. It’s almost as if the show will go on, but that’s impossible. It’s too late. Right?

“Hi everyone.” Kurt enters from the wings, and every head turns suddenly in his direction. “Thank you all for coming,” he glances at Blaine, then back onto no one in particular. “I know when everything went down, some of you were disappointed in me. Maybe you thought I wasn’t fighting for you or the theater, but I want you to know that I never—“

A spotlight blasts on, and all heads swing out towards it, a huge bright circle trained on the center aisle. Blaine shades his eyes, squinting against the glare. There’s a person. A tall, strutting, square-jawed person who looks an awful lot like…

“Cooper?”

[apentotheheart]

Fic - Overdue Reunion

Title: Overdue Reunion Fandom: DuckTales (2017) Character(s): Matilda McDuck, Scrooge McDuck Genre: General Rating: PG Disclaimers: DuckTales © Disney Notes: Pre-series. Applies certain events from the comic The Life and Times of Scrooge McDuck.

Summary: Scrooge has always been stubborn. But even he regrets what it took to get him speaking with his family again.

At first, she hadn't thought much of the chatter of the crowd quieting some, caught up in her own conversation with Elvira to really notice. It wasn't until catching a glimpse of an all too familiar top hat, approaching the porch where the two of them stood that she finally looked herself, tensing as she saw someone she had not seen in quite a while.

"What's wrong?" Elvira asked, noticing her attention was divided.

She didn't respond right away, especially as her eyes caught his in the crowd. When she finally did speak, it was with difficulty to keep her voice level, "Maybe you should check on the twins, Elvira."

Hesitating a moment, the older woman nodded. As she stepped down from the porch, though, she paused. "Will you be all right?"

She nodded, her shoulders squared as she stepped off the porch herself. "Aye. I just need a few words with my brother."

The skirt of her dress billowed around her as she quickly walked forward, and the friends and family gathered seeming to move out of her way as she went to meet him. Soon they stood in front of each other, and she folded her arms across her chest as she stared him down.

"Scrooge."

His fingers flexed a bit as he gripped his cane, but his expression was unreadable as he returned her gaze.

"Matilda."

The tension around them was heavy as silence followed their terse greetings, and the people around them drifted away to give them some semblance of privacy; as much as was possible as they stood in the middle of the farm's property.

She gave him the courtesy to explain himself, but when he said nothing after a while longer she had to check herself from snapping as she spoke, "So? What are you doing here?"

His eyes narrowed a fraction, and she didn't miss the way his free hand curled into a fist before he tucked it behind his back, trying to stand a bit straighter. "I think we both know why I'm here."

The scoff escaped her before she could stop it. "Forgive me if I'm havin' trouble believing y'actually cared for our sister, with how we last saw ye."

She knew she shouldn't have, but Matilda couldn't help feeling a bit gratified as he winced and averted his gaze. She could only hope he felt some shame with how their last meeting ended.

"…A-Aye," he finally said after another long moment, and even after all this time she could still hear how weary his tone was, though he was trying to hide it. His shoulders still sagged a bit though, and he sighed. "I-It was…wrong of me to treat you all the way I did. I was wrong, and…I'm sorry." His grip on his cane tightened as he shook his head. "I just wish I'd had the sense to realize it before it was too late."

Her own posture relaxing some, she still hesitated, the longing to forgive her brother warring with the pain of being rejected and cast out from his life. It had felt like so long ago, but it had only been a couple of years since he had returned to Duckburg, caring only about his money and status as richest man in the world above even them, his family.

They had promised then that they would not speak to him unless something changed…but he was here now, admitting that he was wrong. Surely that counted, didn't it?

If only the person who had decided that in the first place was still here.

But it was up to her now, and so she sighed. "Well…you've come around, at least," she said slowly, her tone equally as worn-out. Unlike her siblings, Matilda's temper never ran as high, and in all honesty she was just tired of being angry all the time. "I'm only sorry that it took this for it to happen."

Scrooge glanced at the people gathered at the farm, the family and friends who had come together to mourn their shared loss. "…So am I."

Movement off to the side caught their attention, and they both looked over to see Elvira leading two children towards the house. Scrooge drew up a bit, inhaling a sharp breath. "Are those – ?"

She nodded. "Hortense's children. Donald and Della."

They watched as the two sat on the steps of the porch, and Elvira slipped into the house. Scrooge shook his head. "They're such wee ones, aren't they?"

"Aye…Too young to be experiencin' a loss like this." Scrooge and she at least had been adults when their mother, and many years later their father, had passed away. But the twins were still so young, and to have both parents ripped away from them so soon…

Too soon…

She hadn't realized she had been crying until Scrooge offered her a handkerchief, and she took it with trembling hands. Even as she tried to wipe her tears, though, more kept coming as the weight of the deaths of her sister and brother-in-law returned full force. After a moment she felt Scrooge's arm around her shoulders, and as he drew her closer she could feel the slight tremor that passed through him as well.

They remained that way for what felt like hours, but only a few moments passed before she was able to compose herself. It was with some reluctance though that she drew away from him, this time able to dry her eyes.

"Thank you," she murmured, the exhaustion once again weighing down on her. "I haven't…had much of a chance to take it all in yet meself. I've been so wrapped up trying to help take care of the young'uns."

Scrooge glanced over once again to where the children sat, watching as Elvira returned to them from inside the house. "What's goin' tae happen with them now?"

"Elvira insisted on raising them herself, here on the farm." Matilda sighed softly. "I would have taken them in, but I didn't think they'd be too keen to go back to Scotland with me."

He turned back to her sharply, eyes wide with surprise. "You're leavin'?"

She nodded. "Aye." She waved off his shock with her hand. "Dinnae worry, it won't be for some time yet. I want t'make sure the children have settled right. But…eventually, yes, I'll be headin' home. Unlike you and Hortense, I never found a reason to stay State-side."

Scrooge's frown deepened at that, and for a moment it looked like he was going to say something. Instead, he looked over again to where the children sat. "So they'll be stayin' here, eh?"

His words had a tone that she recognized as one he used when he had an idea, like he was up to something, and she couldn't help the suspicious feeling that started to rise. "Just what are ye plannin' now?"

Scrooge squared his shoulders, and picking up his cane started marching towards the house. "I may not have been there for Hortense and her husband…but I can change that with her children."

She followed after him, and catching Elvira's gaze as they neared she only nodded, letting the Duck family matriarch know that Scrooge was all right…and she certainly hoped that she was right, and wouldn't regret letting her older brother talk with Hortense's children.

She hoped he wouldn't disappoint her this time around.

The children finally noticed them as they stood in front of the porch steps, but Scrooge seemed to hesitate. From where she stood, she could see his hand twitching some as it rested behind his back. Was he…nervous?

It took another moment of the twins staring him down before he cleared his throat. "Hello, children," he said, and it was already apparent how unaccustomed he was to speaking with children. "Do ye know who I am?"

Donald suddenly appeared rather nervous, and Matilda couldn't say why he seemed to try to hide behind Della. Even stranger, Scrooge chuckled, pointing the end of his cane at Donald.

"Aye, I see you remember. I still owe y'one for that shot you took." Resting the end of the cane in the ground, he folded both hands over the curve he held, and there might have been something oddly proud in his grin. "Still, it was a good shot…one I might've even deserved, lookin' back."

Matilda couldn't help but wonder what he was talking about, but didn't get a chance to ask him as Della finally spoke up, soft and unsure, "You're…our uncle…right?"

With a nod, Scrooge tilted back his hat some. "Aye, that I am. I'm your mother's brother…your uncle…Scrooge McDuck."

Donald fidgeted a bit, looking at Scrooge uncertainly. "…Mom was always mad at you."

She stiffened a bit at that. She wasn't sure how much of their first encounter with their uncle they remembered, but she and Hortense had done their best not to speak about Scrooge around the children after that. Or at least, whenever she was with Hortense. Had her younger sister talked about Scrooge a lot at home with her husband?

Scrooge, however, didn't seem all that surprised. "Aye. She had a right tae be too, all things considered. I'm sorry I never got a chance to make it up to her. But I'd like tae make it up to the two of you, if that's all right."

Della tilted her head a bit. "How?"

"Well…" He knelt down in front so he was more eye-level with them. "Since you'll be living here with your grandmother, I was thinkin' of comin' by to visit ye more often. Why, I can even take you on a few trips here and there, 'long as it's all right with your grandma. Y'think ye'd like that?"

The twins slid off the porch steps as they got to their feet, glancing at each other before looking to her, a bit uncertain. She could only manage a small smile, hoping it was more encouraging than she felt. While she was delighted that Scrooge was trying – and even showing some traces of the older brother she had once known – she couldn't help still feeling somewhat nervous over all this.

She couldn't help worrying whether Scrooge being present in their lives would really be a good thing.

Whatever worries she had, though, quickly faded when the twins suddenly hugged Scrooge, and as her brother returned the embrace, holding them both close, she realized that maybe he needed this as much as the two of them did. And whatever doubts and fears still lingered, she decided that she wouldn't let them get in the way any longer either. She wasn't about to let those reservations keep Scrooge away…not when he was trying to come back now.

They had lost so much family already, after all.

[a-winchester-fairytale]

Memories ~ A Case of Christmas Part 1

Summary: Spending Christmas with Bobby and the brothers on a ghost hunt proves difficult when Dean and Sam start fighting and you get caught in the middle. 

Dean x Reader, Sam, Bobby

Warniings: Grumpy Dean, Canon violence, Christmas fluff

A/N: This is a Supernatural series that I have been working on.  The "Memories" are meant to provide a backstory between the reader and the Winchesters, so they will span over a few years.  I did change a few things about the timeline, but I tried to stick as much as possible to the events of the show.  I appreciate all feedback!  Thanks a bunch!

Word Count: 3,333

Memories Masterlist

Sam had almost given up on Dean coming back to the motel that night.  Dean had stormed out hours ago and Sam was sure he ended up at the bar down the street.  For that matter, he was probably in some girl’s bed by now. 

Sam was almost asleep when he heard his cell ringing.  He opened one eye to check the caller ID, surprised to see Bobby's cell number.  “Hi, Bobby.  What’s going on?”  Sam asked, a little groggy.

“I got a little ghost case up here in the mountains if you and Dean can spare some time.”  Bobby started.

“Aren’t you up there with Y/N and her dad?”  Sam asked, confused.  He had talked to you a few days before and you told him about going to spend Christmas with your dad and Bobby at some cabin in the woods that your dad had borrowed from his partner for a few days.

“Sort of, but it’s just me and Y/N now.”  Bobby said, watching you on the porch reading a book through the kitchen window.  “Her dad just left to go to work.  She said she’s fine, but I can tell she’s pretty disappointed.  I thought maybe you guys could come work this case and stay here at the cabin for a couple of days.  Cheering people up is more your department.”  Bobby explained and Sam chuckled.

“I don’t know how much help we are going to be.   Dean’s pretty peeved right now and you know what that means.”

“Yeah, I know.  It would mean a lot though.  I’ll have a talk with him if I have to.” 

“Okay, Bobby.  I’ll see what I can do.”

“Thanks, Sam.”

The following day, you were bringing a few pieces of wood to start a fire in the fireplace when you heard a familiar rumble.  You looked up to see the impala pull into the driveway, her black shimmer in strong contrast to the white snow all over the ground.  You set the wood down, a smile on your face at the sight of your best friend climbing out of the passenger seat.  As you walked up and told both of them hello, Sam reached down and hugged you tight.

“What are you guys doing here?” 

“Well, we found out about this ghost hunt in the town just south of here and thought we’d come by.”  Sam told you, trying to sound like the whole thing was accidental.  You glanced back at the cabin and saw Bobby roll out onto the porch.

“Bobby called you.”  You said plainly.  Sam nodded.

“He did, but there really is a ghost.”  He told you, blushing a little.

“I’m glad you’re here.”  You admitted.  “Come on inside.” 

The brothers followed you inside, grabbing the wood you had been carrying earlier.  Sam worked on getting a fire started while Dean took their bags into the bedrooms.  You glanced over at Bobby and mouthed a ‘Thank you’ to him and you were certain you saw him smile before he turned back to the papers he was reading.

You sat down on the floor near where Sam was stoking the flames in the fireplace.  “So, tell me about this case.” 

Sam began explaining how there were a lot of mysterious deaths all surrounding this one family.  It all began when the husband died about a month back.  Ever since then, anyone male that came near the house ended up dead.  It had started with the priest, who offered grief counseling.  Next it was the neighbor who helped the widow with cutting up some limbs in the yard.  The most recent was a plumber who had been hired to fix the pipes under the kitchen sink.

Every once in a while, Sam’s explanation would be interrupted by some snarky remark from Dean, who had come back out and was sitting at the kitchen table.  You could feel the hostility he had directed toward Sam.  Each time Dean said anything, Sam just looked down.  He was trying his best not to fight with Dean while they were here.  After the third comment, Bobby reached over and pushed Dean’s shoulder to get his attention and whispered to him to knock it off.

“Sounds like a jealous husband that doesn’t want to take a chance his wife will find someone new.”  You volunteered. 

“That’s what I thought too.”  Sam told you.

“Well, let’s go talk to the wife and find out where hubby is buried.  We can salt and burn the jerk and be on our way.”  Dean said.

“Actually, I was going to take Y/N with me to do that.  People react better to her anyway.”  Sam said.  He had seen people warm up to you instantly on several hunts that you had gone on with them.

“What’s that supposed to mean?”  Dean asked, suddenly defensive.

“Come on, Dean.  You’re angry.  You’ve been angry for days.”  Sam told him.  You could hear the tension in Sam’s voice.  He was beginning to lose patience with his brother’s sour demeanor.

“Whatever.”  Dean mumbled, throwing his hand up and started down the hall.

“Dean…”  You called out to him.  He stopped at the doorway.

“It’s fine.  Just go.”  He told you without turning around.  His voice not as hostile as it had been with Sam.  He wasn’t angry at you, after all.  You glanced back at Sam, who gestured for you to follow him out to the car.  Sam walked out of the front door and Dean marched down the hall to the bedroom.

“Just ignore him, Kiddo.”  You heard Bobby tell you.  You walked over to him.

“I’m trying.”  You answered, feeling defeated.  You hated to see them fighting like that after everything they had been through lately.  “Do you want anything from town?”  You asked, putting your hand on his shoulder. 

“No, I think we have everything here.”  Bobby answered, reaching across his chest to pat your hand with his own.

As you climbed in the car, Sam turned and faced you.  "I'm sorry about Dean."  He said.

"What's going on with you two?"

"I don't know.  He's been like that for days.  I get the feeling like he still thinks all of this is my fault."  Sam admitted.

"I'm sure he doesn't think that, Sam."  You tried to sound encouraging. 

"I hope your right."  He said, without much conviction.  "Hey, could you hang on to something for me?  Just keep it safe?" 

"Of course."  You told him.  Sam reached in his jacket pocket and put the Samulet in your open hand.  "Is this...?"

"Dean's...yeah."  Sam replied.  He explained the trip they took through Heaven and how Dean had thrown it away at the hotel after.  "I guess I am just hoping that one day, he will wish he hadn't done that."

"I'm sure he will.  I know this means a lot to both of you."

"Well, until then, I don't want him to know I took it out of the trash and kept it.  It would only make things worse."  Sam told you.  You nodded in understanding.

"I'll hang on to it until then."  You told him, closing your fist around it.  Sam smiled in thanks and the two of you drove off to talk with the wife.

Several hours later, you walked back in the cabin with Sam.  Bobby had just set dinner down on the table and you both sat down with him and Dean.

“So, did you get rid of the Ghost of Christmas past?”  Dean asked, still a little snide.

“Not exactly.”  You started, “Seems that her husband was cremated, but there was one very personal item that went to his best friend, Bart; A leather banded watch that he apparently never would replace since it was a wedding present from his father.” 

“We found out that a few of the guys he used to work with, including Bart will be at the bar tonight.  We are going to go back into town and try and catch them there.”  Sam added.

“You coming with us tonight?”  You asked Dean.

“You’ll have to stop being a Scrooge.”  Bobby popped off to him, giving you and Sam the clue that Dean had been sour the entire time the two of you had been gone.  Dean glared over at Bobby.

“You don’t have any place to tell me or Sam what to do.”  He told Bobby and got up from the table and marched out the door.  You got up to follow him, but Bobby put his hand on your arm.

“It’s ok.” 

“No its not, Bobby.” You said forcefully, and followed Dean. 

“What’s gotten into you?”  You asked, more concerned than irritated as you stepped out onto the porch.

“Nothing.”  Dean said gruffly as he continued to walk away.  You ran down the steps and grabbed his arm to turn him back around to face you.

“It’s not nothing.  You and Sam have been bickering since you got here, before that according to Sam.  You’re angry and impatient.  Everyone can see that something is going on.  Now what is it?”  You pleaded with him.

“Look, me and Sam fight once in a while.  It’s no big deal.”  He began, but you shook your head. 

“No big deal?”  You repeated back to him in disbelief. “If it was no big deal, then why are you being such a jerk?”

“He lied, Y/N.  Don’t you get that.  He’s been lying to me and hiding things for months.”  Dean snapped, a little harsher than he intended.

“Oh, and you never do?”  You snapped back.  Dean didn’t say anything, your tone surprising him.  “And what about Bobby?  What are you snapping at him for?”

“It doesn’t matter.”  He said under his breath and started away from you again.

“You’re going to say yes.”  You whispered as the realization of what he was doing caught up to you.  Dean stopped, but didn’t turn around.  His shoulders sank.

“Are you going to try and stop me too?”  He asked, cynically.

“Would it do any good?”  You threw back at him.  Dean paused, and you saw him shake his head.

“Probably not.”  He admitted calmly, once again turning to face you.  You saw the anger gone, replaced with something else.  Fear maybe, hurt probably.  You walked the five steps until you were standing in front of him again.  He just watched, his eyes searching yours.

“Do I like the idea?  Of course not.  I don’t like how any of this is going down, but we are all facing the apocalypse whether we like it or not.  I don’t know what the right thing is, but you pushing everyone away like this isn’t going to help anything.” 

“I’m not….” Dean started, but stopped at the look on your face.

“You can’t make them hate you.  All you are going to accomplish is to make them think you hate them.  Is that really what you want?”  You asked tenderly.  Dean sighed.

“No."  He answered honestly.  "I’m just so angry all the time.  I can’t stop it.  It seems like everything I’ve done in the last few years has just blown up into this.  Every time I try to fix it, I only end up making things worse.  I don’t know what to do anymore.”  Dean admitted to you, running his hand through his hair in frustration.

It took you a minute to regain your thoughts.  Dean had caught you completely off guard by what he had said.  You had never seen this side of him before, although Sam had told you about some of the things that had happened in the last few years, Dean never would say a word.  He never wanted you to look at him like he was evil, like he looked at himself.

“You and Sam carry so much guilt around with you.  You have to find some way to let go of it once in a while." 

“I don’t know how anymore.” 

"Try to have a little fun once in a while, get out of your own head.  All of this is going to end up eating you alive if you don’t.  You'll forget what you were fighting for in the first place.”  You offered.

Dean chuckled at the thought.  The idea of fun was so foreign to him now.  He had been diving head first into every hunt he could to keep himself from thinking too much about the choices him and Sam had to make.

“You and Sam will find a way to beat this.  I believe in you.  It’s going to be okay.”  You added when he didn't say anything else,  Without realizing what you were doing, you reached out, taking his hand in yours.  Dean glanced down at your hand in his and smiled back at you. 

“Just keep telling me that, will you?” Dean asked, pulling you to him.  When he did, he just held you for a moment, not wanting to let go. 

The closeness between the two of you at that moment surprised you a little.  Although you had been hunting on and off with the Winchesters since the Vampire hunt a few years ago, it had always been Sam that you were close with.  You and Dean got along fine, but he was always “Sam’s brother” and you were just “Sam’s friend”.  Whatever door was opened between you, you silently hoped that it stayed that way. 

Later that evening, the three of you sat at the bar in town when Bart and his friends came into the bar. 

“Look, he has it on his wrist.”  Sam said, pointing to the watch you had seen the deceased husband wearing in the pictures at the house.

“Ok, let’s go get it.”  Dean said, planning on fighting all of his friends if need be.  Sam put his hand on Dean’s arm when he started to get up.

“There is a easier way to get it, if you have some patience.”  You began, glancing over at the group of single guys, your eyebrow raised.

“You don’t have to do that.”  Sam protested.

“Might be fun.  If it doesn’t work, Dean can always bash him over the head.”  You teased a little, glancing over your shoulder at Dean.  Dean just rolled his eyes, a little grin on his face.  “Be right back.”

You got up and walked over to the bar, leaning over the counter right next to where the guys were sitting.  Dean and Sam watched as Bart noticed you, slapping his friend on the chest and pointing you out to him. 

You ordered three beers, and shot a quick smile at Bart while you waited for the bartender to bring you your drinks.  That was all he needed.  Bart slid down to the stool next to where you were standing and stuck out his hand to you.

“Are you here alone?”  He asked, and you shook your head.

“No, I’m here with my brothers.  We are driving through to our parent’s house and just wanted to get out of the car for a little while.”  You told him in a sweet voice. 

“I’m glad you decided to stop here.”  Bart told you, his eyes glancing quickly down your legs and back up, pausing on your chest.

“Me too.”  You said with a little giggle.  You grabbed the beers from the bartender and started walking back to the table.  You could feel Bart watching you and you threw a smile back over your shoulder at him.

“Here you go, brothers.”  You teased.  Sam and Dean both looked up at you confused.  “Well, what was I supposed to say?  You are my bodyguard hunter friends?”

“I don’t like this.”  Dean told you. 

“Its fine.  Just keep his friends busy.”  You said just before Bart and his friends reached the table.  He introduced his two friends as Joe and Lonnie. 

“So, where do your mom and dad live?”  Bart asked, trying to make conversation.

“Mom and Dad?  What the hell....?”  Dean told him, confused why that would make him ask that question.

“You’ll have to excuse my eldest brother.”  You interrupted, kicking Dean under the table.  “Dean has been a little uptight about our mom getting remarried.  He doesn't like to refer to the new guy as dad.”  You told Bart, quickly trying to recover.

Bart seemed to believe you and the three of them sat down at the table.  Sam engaged them in conversation about football, giving you an opportunity to flirt with Bart.  He seemed like a pretty nice guy, and he wasn’t bad looking either.  This was going to be more fun for you than you wanted to admit.  After a few minutes, you offered to get shots.  You walked back up to the bartender.

“I need to get shots for the table over there, but I have a special request if you would be open to it.”  You began.

“I’m listening.”  The bartender said, wiping his hands off on a towel.

“There’s a hundred dollar tip in it for you if you fill my shot glass with water and let them think it’s Patron.”  You said, holding up a hundred dollar bill.  The bartender glanced back at the table and shrugged.

“You got a deal.”  He said, putting your money in his pocket.

You took a tray of shots back to the table, all Jack except for your “fake” Patron.  A round of cheers went up as you all clinked the glasses and downed the shots of alcohol.  You made sure to close your eyes and tighten the muscles in your throat to make it look like your shot had a bite to it and none of them was the wiser. 

As the night went on, Bart got drunker, as did his friends.  Bart started doing what you had been waiting for, slipping his hand under the edge of your shirt and letting it linger on your lower back.  You pretended to have the watch caught in your hair a couple of times before turning his wrist in your hands.

“What are you doing?”  He asked.

“I’m just going to slide this off so you can keep doing what you are doing and it won’t get caught in my hair.”  You said, looking up at him through your eyelashes.

“I don’t want to lose it.  It belonged to my friend.”  He slurred a little.

“Just put it in your pocket.”  You suggested.  He nodded, letting you undo the strap and slipping it in his jeans pocket.   

When you asked Bart to dance with you, his friends challenged Sam and Dean to a pool game.  Even though Sam and Dean had walked off to try and win some money playing pool with Bart's friends, they protectively never took their eyes off of you.

As the two of you walked out to the dance floor, you asked him to hold your money in his pocket and he agreed.  You made sure to slide it in the same pocket as the watch.

After the dance, you led Bart back to the bar and fed him some more shots, still drinking the “fake” Patron.  Within an hour, he was so drunk he could barely stand.  He swayed a little, leaning back against the bar and you put yourself in front of him, your legs between his knees. 

You reached for his front pocket and he looked at you confused.  “What are you doing?”  He asked.

“I just want to get my cash to put some money in the jukebox.”  You said sweetly. 

When you pulled out your money, you took the watch with it and quickly put it in your own jeans pocket.  You took out your phone and text Sam “5 min”, then walked over to the jukebox.  You pretended to pick a song, glancing back to see Bart lay his head down on the bar.  When you were sure he wasn't looking, you snuck out the back door.  As you turned and headed across the lot to the impala, you came face to face with the ghost.

Next...

[filmeditingunit21]

A1: Types & Purposes of Editing for Film & Television:

Types: 

Continuity Editing: 

Continuity Editing is the main style of commercial cinema where they use a logical, continuous narrative, it is basically shots that are related trying to make the audience think that the shots were filmed as if the scene happened in a sequence. A good example of continuity editing is an action performed on screen, this could be someone throwing a ball, the scene could start off with a shot of someone throwing a ball, the next shot could then be a close up of the ball in the air and another could be a POV shot from the person who is going to catch the ball, by editing like this the narrative has structure and the shot sequence flows seamlessly into each other. 

Non-Continuity Editing: 

Non-Continuity editing as you would gather is the complete opposite of continuity editing and it does not offer a logical continuous narrative. This type of editing breaks the rules of the linear path and moves in different directions. As well as this, non-continuity editing can impact an audience, it can change their mind on characters or change the atmosphere of a scene, for example the audience may like a character at first but with some non-continuity editing a flashback could be put in to show that liked character commiting murder and the audience may now not like that character at all, therefore this type of editing plays a big role in how things are percieved in a film. A good example of this is in the American Tv series Breaking Bad which follows the life of a teacher called Walter White and throughout the show we see not only how he changes from the point we first meet him but how much he’s changed since his past. This is shown through the use of flashbacks showing Walter White before he was a chemistry teacher and so it allows for the audience to understand Walter better and feel more attached to the character.

Purpose of Editing: 

Manipulate Time: 

Time manipulation in film is always best done in the editing after the film is made, whether this is slow motion or shots that have been sped up. By manipulating time a director can tell a story better or show scenes better e.g. in more detail etc. Additionally time manipulation builds tension and suspense for the audience to empathise with the character(s). 

Slow motion- slow motion is used to see a shot in more detail, the scene is slowed down so that the audience can properly see what the director wants them to see and the meaning behind it. For example if a fight scene was shown at full speed then the audience would not see it as well as they would in slow motion, however the director would usually have a reason for showing a fight scene at normal speed than in slow motion. At normal speed the director could be trying to say that the scene needs to be fast to show how quick one person was beaten in a fight, whereas if it is done in slow motion then the director could be wanting to emphasize on the skill in the fight from both people or persons in the fight showing more emotion as well as showing the characters fighting ability in more detail. Often in action scenes slow motion is used to aestheticize the violence, to make it more operatic or balletic, a good example of this is the film ‘300’. In fantasy or sci-fi it can show a character’s superhuman powers and their ability to manipulate time, a good example of this would be Quicksilver in the kitchen scene in ‘X-men Days of Future Past’. Or it can either be used literally, to show the different layers of time (e.g. Inception). It can also be used to get inside the head of a lead protagonist and show the emotions they are feeling. 

Shots that have been sped up- directors would use this type of effect not to just get past things quickly but to create excitement in a scene and to create an effect of power. For example in a fight scene we could see one person sped up beating up another person but so quickly that it shows they are incredibly fast and powerful. As well as this like slow motion in fantasy/sci-fi films it can be used to show a character's abilities. For example in Sam Raimi’s Spider-Man 2 during the train scene, spider-mans ‘spidey sense’ is shown by his point of view of a sped up shot down the rest of the train track to see the end where the train will crash. 

Overall time manipulation helps a director portray/tell a scene better and helps in highlighting and hiding information in a scene. Of the two types of time manipulation I would say the slow motion effect is more effective than a sped up shot as the director can use it to show more meaning in a scene and highlight aspects of a scene that are not usually viewable. 

Flashbacks & Flashforwards: 

Flashbacks and flashforwards are used to either show something in the past or something that is going to take place in the future. 

Flashbacks can be used for many things, they can be used for more background on a certain character or on a place/location. Or they can be used to show what life was like before a disaster etc. Flashbacks can be shown in many different ways, commonly used ways to portray that a flashback is happening is with a cross dissolve, however in some films flashbacks are announced with literal flashes and a compilation of shots put together in a jarring way, a good example of this would be the Bourne Identity where Jason Bourne is trying to remember his identity. Quite a lot of films don’t tell the audience when a flashback is happening and let them work it out for themselves, however even though a flashback may not be obvious it is not only seen in an edit after filming, flashbacks can also be seen by seeing a character with a different haircut for looking younger or even wearing clothes of a different time. However there are many ways to also notice a flashback, there is the testimonial/confessional, the conversational, the object triggered, the thought triggered and the filmmaker intended flashbacks. 

Furthermore flashforwards are the same concept as a flashback, however instead of going back in time it goes forward to show the future of the narrative/many futures of the narrative. Flashforwards are very rarely used in common narrative because it is almost impossible to use them, however they can be used well in fantasy/sci-fi films. For example in Twilight Breaking Dawn Part 2 there is a scene where a vampire named Alice shows another vampire what will happen in the future if they all fight and we get a flashforward here showing her abilities as well as being able to show the fight scene but it does not actually take place. Overall in my opinion flashforwards are very hard to use compared to flashbacks and I believe that a director can tell more to an audience through a flashback than a flashforward. As well as this a flashforward could also potentially ruin a story before it is over, however if used well then a flashforward could also be potentially good for character development. A great example of this is in ‘A Christmas Carol’, where Scrooge sees his death, which led to his change in personality and fate. 

Control Perception of Space: 

Controlling the perception of space is key in creating an audience's reaction and controlling their behaviour towards certain characters. This lets two separate clips seem like they are together, allowing the audience to think that there is a seamless narrative. A good example of this would be the use of shot reverse shot between two characters.

Controlling Rhythm: 

To make a film look completely seamless and flow extremely well then the rhythm needs to be perfect. In most films the average shot is 4-6 seconds and so once the editor has established the average of the duration of the shot then they can decide whether to speed up or slow down the duration. A fast paced duration usually means that there is tension within the scene, for example in action films fight scenes will have many different cuts to show the speed of the fight and everything that is going on. Slow paced editing however would mean that the scene is calm, an example of this would be less cuts in a shot reverse shot scene of two people having a conversation. Controlling a rhythm in a film is trying to edit it so it builds up, for example in an action film at the beginning of the film you would have slow pace editing between shots which could be considered the ‘calm before the storm’. Then as the build up to the fight occurs editing between shots will increase as the films tension is also increasing. Then finally when it comes to the actual fight the shots will become faster and more sharp to emphasize everything around them is happening quickly. After the fight the scene will then go back to slow paced editing where shots are not changed as quickly due to the fact the fight has ended. A good example where all of this editing can be seen is from the film Psycho.

Overall rhythm in film is very important, if not handled correctly then the film will not look right and the audience will pick up on this. The pace of a film is extremely important, if it is too long then people will get bored of watching, if it is too quick then people will not know what is going on. Rhythm can provide suspense, surprise, drama and a whole array of different emotions, therefore making it probably the most important part of editing.

Functions of Editing: 

Creating the Narrative: 

Creating a narrative can be done in many different ways, a good way of furthering the narrative is by using flashbacks. Flashbacks can help the audience understand a character better, as they can see how they’ve changed over time, whether better or for worse. From an editing point of view, the editing itself needs to be motivated so that it suspends the audience disbelief when watching a media product. For example if a character wants to get into a room badly and then finally proceeds to get in the editor could make it so that the audience only gets the shot of the character's reaction as he/she sees the room. By doing this the editor has gripped the audience's attention as they now also want to see what is in the room, this is called motivated editing. 

The editor is doing this so that the audience is more involved with the film and it helps to keep the film interesting and surprising. 

Development of Drama: 

An editor can develop drama by cutting to reaction shots of characters as well as long cuts that can be used to develop tension and create a sense of ever closing danger. 

Creating Continuity between shots: 

As said before, continuity editing is making a sequence of shots look seamless one after the other, however there are actual rules in creating continuity between editing shots. A scene would usually start off with an establishing shot, this could be of a city to set the scene, the next shot then needs to be in what looks like an apartment within the city so that it looks seamless. Then the camera would follow the actions of the character, to do this the camera would follow the character as they are moving. 

If another place/location is coming next into the film then something to let the audience know will be needed. Things like sound/transitions help with this or in a lot of films nowadays to show a new location. It is another establishing shot with writing in the bottom left of the corner to tell the audience where the scene is now set. This is done so that the narrative can be carried over to another place smoothly. 

Additionally during films time is not as it would be otherwise it would take a long time to watch films, for example if a films narrative consisted over 2 years then it would be impossible to film if there was no time frames. This is why a film needs to have good continuity editing to make it look like a day has gone by and another has started, for example the sun going up and then coming down in a film shows the audience that a new day has started, however a sped up shot showing the sun go up and down many times as well as seeing the environment change could suggest that a lot of time has passed by and this helps the audience understand this. Another way of going through time in film can be just telling the audience, e.g. 5 years later…

Providing and withholding information/creating an audience reaction: 

A director will work closely with the editor to make sure that the correct information is shown and which is withheld, this is to ensure that the film is kept interesting and gripping for the audience, it also can help with explaining the narratives. This can be done in many different ways, for example the director might let the audience know something before the main protagonist does so that we know what is going to happen to them if they do something that they shouldn’t/should do and so this can keep the audience interested to see what decision the protagonist makes. However the director could also choose to withhold information to the audience and so whatever the protagonist chooses to do it will surprise the audience. 

If done correctly then a film will keep the audience gripped from the beginning until the end, as well as keeping the audience well entertained due to them thinking of what could happen next and what they knew was going to happen next. Overall this type of technique is very important as it keeps a film interesting and helps to have not a good narrative but a great narrative. The option to withhold information has the ability of changing the reaction of the audience, it can create suspense or surprise and a different attitude towards characters and how they view them overall. As well as this the option to feed the audience with little bit of information allows them to try and figure out what is going to happen which can be used well with withholding information as if the audience thinks they know what is going to happen but something else does then they are surprised as well as wanting to know the information that has been withheld from them which will then be shown for them to decide how they feel about it. 

Creating meaning:

Creating meaning can be done in various ways, whether it be done through camera work, sound or both together, meaning is created. Editing plays a big part in how meaning is created and how it makes the audience feel. Juxtaposition in films creates meaning, this is a film editing technique of combining two or more shots to raise a state of mind or idea, if two unrelated images are shown after the other, meaning is created and the audience works out for itself what it means. Meaning all depends on the editing of shots which is explained well by the ‘Kuleshov Effect’. 

Sound can also have an enormous impact on meaning as it can make people feel a certain way and when combined with a series of meaningful shots it can make an audience feel a range of different emotions.