#int. and ext. of the self

[deductions-and-magic]

On the perimeter of the Int.

so I just watched Interior Chinatown and discovered Archie Kao (and proceeded to start watching his entire filmography as you do) (also i think i really need to read the book Edit: finished the book!! might write a new post)

And I think it is so poignant that he is Uncle Wong

The ABC (American Born Chinese) who has a foot in both worlds (the first to realize the dangers involved and believes it’s his responsibility to protect his people!), who says

"I was born here. In this city. I've been here my whole life."

and yet is so grounded in both cultures

who finds the victims of the systematic violence resulting from the police procedural

is performed by the ABC who was raised on an American farm, who did not know Mandarin when he moved to China a few years back to find his roots and pursued acting there, who is now back in the US (source: his Int. Chinatown interviews), who has always tried to help. to change things (even if small)

In his interviews he talked about how he spent most of his time in Hollywood on procedural dramas

And parallels with Willis Wu who as a "Generic Asian Man" could not be the hero, the lead (on CSI: Enhance! On Chicago PD: Detective but tech guy — so many parallels)

So he, like many Asian Americans, IS Willis Wu (like Uncle Wong was Willis but even more similar)

but more importantly, his path of America -> Asia -> America is the path of so many people who are unsure of “self” and where they stand, thinking about where they come from and what that actually means

What being American Means, What being Asian Means, What being Asian-American Means

so I think it's likely this show represents a culmination of his journey of self discovery

As a Chinese American

And what that means to him.

Not at the intersection of two cultures but Cape Horn -- a confluence

Where oceans crash together and people get submerged

where there is a distinct divide but you can’t see it when you’re in the water

In Chinese there's a saying: "见山是山，见水是水；见山不是山，见水不是水；依然见山还是山，见水还是水", which roughly translates to “Seeing mountains as mountains, seeing water as water; seeing mountains not as mountains, seeing water not as water; still seeing mountains as mountains, water as water"

like you're back where you are before, and it's the same

but it’s different now

Which applies to so many things here.

[crimsondestroyer]

funny pecharunt ramble

Okay. So. Ever since Mochi Mayhem released, it seems like people have basically entirely thrown out the theory that Kieran was being controlled/influenced by Pecharunt. However, I still think this is a valid theory - especially after we got the video explaining Pecharunt's backstory with the old couple.

My personal theory has always been that Pecharunt's power is somehow unconsciously affecting those around it, causing them to be affected - giving them the drive and power to accomplish their dreams, but causing them to become obsessed with those dreams to a self-destructive extent. Now, in Mochi Mayhem, Pecharunt's powers are shown to do exactly one thing (control people while making them dance and say "mochi" a lot), and a lot of people have been jokingly saying that this means Kieran can't have been controlled by Pecharunt, because if he was, it would be much more obvious and silly. However, it's worth noting that this is not the only way we've seen Pecharunt control people. To better explain this, I'm going to use @possessable's possession shorthand code (explanation of how it works here). Throughout Pecharunt's story and backstory, we see at least three entirely distinct uses of Pecharunt's powers to control people, which function in entirely different ways:

The powers used in Mochi Mayhem, which cause people to dance and be directly controlled.

The powers used on the Loyal Three, making them much more powerful and granting their "wishes" in exchange for serving Pecharunt as retainers.

The powers used on the old couple, causing them to become much greedier and constantly ask Pecharunt for things.

These three function entirely differently. They are all inflicted by someone eating mochi created by Pecharunt, but otherwise, they all do different things. Here are some shorthand codes explaining how they all work (thanks to @possessable for helping me figure some of these out):

Mochi Mayhem: Y-S-Y-EXT-N-4-N-P-B-S-INT-N

Loyal Three: Y-S-Y-EXT-N-3-Y-Y-M-F-INT-Y

Old Couple: Y-S-Y-EXT-N-1-Y-N-M-?-INT-?

Notably, while Mochi Mayhem's control is obvious and complete, the other two cases involve amplifying things that were already there, and the old couple's control didn't even seem to be intentional - since Pecharunt just wanted affection, if it was controlling them on purpose, why didn't it just... make them more affectionate?

From this, you can clearly see that Pecharunt's powers work in several different ways, and, in fact, there are MORE instances of it working in significantly less direct ways. Based on this, I don't think it's unreasonable to assert that Pecharunt's powers might've had something to do with Kieran's villain arc. At the time, Kieran was undergoing a lot of stress, due to Carmine and the player hiding the truth from him about Ogerpon. And, as we now know, Pecharunt was nearby the whole time. I mean, the scene of Kieran finding out the truth and dramatically walking away literally happened DIRECTLY next to Pecharunt. I don't think it's unreasonable to infer Pecharunt's powers might've been unconsciously influencing Kieran during the DLC stories - he overcomes the influence in the end, but that doesn't mean it was never there.

In fact... isn't there another instance of someone being in Kitakami, and then later going on to become insanely obsessed with some sort of goal, to the point of pursuing it single-mindedly, beyond reason and logic? An instance that is actively called out as being illogical and unexpected? A case where the person seems to be convinced that completing their chosen goal will grant them something they wish for, above anything else?

Interesting.

[therevengeoffrankenstein]

'ENDLESS PERIOD'

INT. A STAGE IN SOME SORT OF AUDITORIUM.

The curtains of the stage are closed. ELLIE suddenly appears, running out onto CENTER stage.

ELLIE

(nervously, clasping hands together, nodding along as he speaks)

WELCOME to the period blood show tonight! We're supposed to go for another five to seven days continuously, so make sure to stretch those ass cheeks now!

LAUGH TRACK.

CUT to the empty audience. A cough is heard OFF-SCREEN.

ELLIE

(coughs nervously)

ANYWAY! Our beloved star The Uterus has yet to arrive, so i'll be entertaining you all BRIEFLY until he arrives.

ELLIE does a GAY LITTLE DANCE and JAZZ HANDS.

ELLIE

TA-DA!

UNKNOWN

(O.S.)

You suck!

ELLIE

(laughs)

The Uterus will be here any moment! ANY moment! Any second! It'll be here so soon! Any second now!

HARD CUT.

EXT. A DESERT HIGH WAY

THE UTERUS sticks out one of its tiny stubs like a hitchhiking thumb.

A car pulls up with DEAN MORIARTY and SAL PARADISE inside.

DEAN

(leaning so far out car window he is liable to fall out of the car)

What can we do for you? What's your reason, baby? Wanna ride?

SAL just smiles fondly.

THE UTERUS

(growls and barks for at least a solid minute)

DEAN

OH OH OH! Yaasss... I get the situation, oh, I get it... Hop inside, little ride. Quick-ly!

DEAN throws the car door open and THE UTERUS scurries inside.

SAL

We're going to try to make it down to Frisco, by the way. You need us to drop you off on the way?

DEAN

(through giggles)

Or are you riding the breeze... If you know, you know!

THE UTERUS

(growls and barks in a softer tone)

DEAN

(winks awkwardly)

I do like your style! You damn well get me, huh...! Just you wait...

HARD CUT.

INT. MOTEL BEDROOM

CLOSE UP of SAL lying on his side on a bed. He smiles softly at the camera. The bed shakes as man whimpers and short barks and whines fill the air.

HARD CUT.

INT. A STAGE IN SOME SORT OF AUDITORIUM.

ELLIE is covered in tomato stains.

ELLIE

And that was, uh, my best impression of Bobby Hill from King of the Hill.

(does Bobby Hill impression)

That's right, Daddy!

Another tomato hits ELLIE in the stomach.

HARD CUT.

EXT. OUTSIDE A MOTEL IN SAN FRANCISCO

DEAN and THE UTERUS embrace.

DEAN

(tears welling in his eyes. The reason why is unclear.)

Now, I'm already a Daddy and all, so let me know! Let me know AS SOON AS POSSIBLE, sugar...

(aside, to SAL)

AY! I sure hope not!

THE UTERUS

(growls out something obviously mean)

DEAN's lip quivers as he detaches himself from THE UTERUS.

DEAN

Su-it your-self!

DEAN runs off, jumping into someone else's car with the keys conveniently left in there. SAL yelps and hops in after him and they drive off.

SOME GUY

(running after the car)

My car! MY CAR! MY CA-A-A-AR!

SOME GUY hits his knees. THE UTERUS scoffs and walks off.

FADE TO BLACK.

INT. A BED

CLOSE UP of THE UTERUS as it whimpers and whines, writhing around. Movement and fabric movement are heard OFF-SCREEN.

SOMEONE WE ALL KNOW

(O.S.)

Yeah, yeah, I know, I know... It's okay, honey.

THE UTERUS

(whines)

SOMEONE WE ALL KNOW

(O.S)

Let the Holy Spirit move right through you....

(voice wavering)

Yes, yes....

FADE TO BLACK as THE UTERUS howls.

INT. A STAGE IN SOME SORT OF AUDITORIUM.

THE UTERUS busts in through the door.

ELLIE

(quickly)

FIN-AL-LY, the man of the hour! The multiple months!

THE UTERUS runs up on stage and vomits KENSINGTON BLOOD all over the audience and camera. Blood fills the auditorium.

The blood then cartoonishly drains as SOMEONE WE ALL KNOW opens the door, still remaining OFF-SCREEN.

SOMEONE WE ALL KNOW

(O.S.)

You're welcome, by the way.

OVERHEAD SHOT of ELLIE, lying on the ground, covered in blood, as he coughs up blood. He gives the camera a thumbs up.

IRIS OUT, ZOOM onto ELLIE's smiling face.

THE END.

[avaford2009]

Wall-E (Rewrite) - Questioning AUTO and GO-4/Our Message To The People -

EXT. THE AXIOM - OUTSIDE ROYAL CASTLE - NOON

All of Axiom chatter as their AUTO and GO-4 approaches them on their stage. Mostly, they were talking about the light last night, certain that it was AUTO’s doing.

AUTO

Quiet, quiet, quiet! I know you are all wondering about that little light last night.

The crowd bursts into applause at the mention of the light.

AUTO

A light I did not command or condone!

The applause dies down as the citizens now realize that they have no clue what that light was.

AUTO

It was magic, though quite clumsy and amateurish. It was also completely forbidden. There is a traitor amongst us… who defied the law. They used magic to put you all at risk!

The crowd gasps in shock.

AUTO

But don’t worry, they are no match for me. And I assure you, when caught, they will be punished severely.

As AUTO talks, Eve looks up to the top of the castle.

EVE

(SOFTLY) Wall-E.

INT. AXIOM ROYAL CASTLE, THE STUDY - NOON

The dumbwaiter in the study.

STAR

(MUFFLED) You are awfully slow at this.

The bell outside the dumbwaiter rings.

WALL-E

(MUFFLED) Shhh. I think we’re here.

STAR

(MUFFLED) Finally!

The door nudges slightly open but it’s not enough, the lock on it keeping the trio from escaping.

WALL-E

(MUFFLED) Let’s go. Oh no.

Wall-E tries to open it a few more times, but nothing.

WALL-E

(MUFFLED) No, no, no, no, no. It’s locked.

Star stuck out his tiny arm from under the door.

WALL-E

What are you doing?

STAR

Seeing if I can’t get this lock open.

He fires a ball of stardust which hits a quill, bringing it to life and causing it to draw on some nearby paper. Star fires another ball, this time hitting the scissors which also brings it to life to chase the quill. This pattern continues several times before Wall-E has had enough.

WALL-E

Star, please don’t break anything. Stop! Look, you can turn into anything, right?

STAR

Pretty much, yeah.

WALL-E

Then turn into a piece of paper. I’ll slide you under the door and you can just open it normally.

STAR

Huh, not a bad plan.

Wall-E cracks open the door and a golden piece of paper falls out. The piece of paper turns into Star’s human self, glowing hair and all, who then opens the door to let Wall-E out.

WALL-E

Yes!

Wall-E, and Star see the King’s desk completely covered in flames right before it explodes.

EXT. THE AXIOM - OUTSIDE ROYAL CASTLE - NOON

Eve was the only one to notice the explosion in the King’s study. She looks back down to AUTO, who was still continuing his speech.

AUTO

The Axiom needs you. Any information would be most helpful. And I know you will never, ever let me down. Thank you.

The crowd applauds as AUTO and GO-4 turn to walk away. Eve does her best to distract them.

EVE

Your Majesty, wait! Please!

All eyes are now on Eve.

AUTO

Yes, go on.

Eve clears her throat as she tries to think of something.

EVE

Ahem. Okay. (CHUCKLES NERVOUSLY) Hi. Hi. Uh… Hi, I’m Eve. Look, BRL-A and L-T make your AUTO and GO-4 cookies.

Eve pulls out of AUTO and GO-4 cookies in her pocket, GO-4 look at her baffled, and AUTO just rolls his objectively sparkly eyes.

AUTO

(GROANS) Fantastic. What can I do for you, Eve?

EVE

(CHUCKLING) Oh. Thank you for asking. (CLEARS THROAT) You said any information would be helpful. Uh-huh. But pragmatically speaking, what qualifies? Evidentiary? How about circumstantial? (SIGHS) First hand? Ooh, second hand?

RANDOM CITIZEN #1

What about hunches?

EVE

Oh. Sure. How about hunches?

AUTO

Yes, any. Any information about who or what caused the light would be helpful. So, yes, hunch. Hunch away.

RANDOM CITIZEN #2

You said it was amateur magic, but how come you don't know how they did it?

AUTO

What?

EVE

Perhaps you could define “amateur”?

GO-4

AUTO is perfectly aware of what kind of spell it was. He just needs your help tracking down whoever is responsible.

AUTO

This is about what you know. (INHALES) This is about your safety, and most importantly, the safety of your wishes.

HAN-S

Um, do you mean our wishes aren’t safe?

EVE

Of course they’re safe!

Eve chuckles nervously, now beginning to regret what she had started.

INT. AXIOM ROYAL CASTLE, THE STUDY - NOON

Wall-E manages to put out the last of the fire using a vase full of water. He scoops up everything that was burnt and hides it in the dumbwaiter.

STAR

(LAUGHS) Good as new.

WALL-E

Whew. Hope he didn’t need those.

STAR

Sorry about that.

WALL-E

We’ll talk about this later. (GASPS) Right, the wishes.

Wall-E, and Star run up to the obsidian wall that hides the real study.

STAR

I can feel the wishes just through here.

WALL-E

That’s actually a door, and AUTO waved his hand and it just…

Star waves his hand and the obsidian doors open.

STAR

See?

WALL-E

I really need to learn how to do that someday. But first, Mary’s wish.

The two of them run into the room and look up to where all the wishes are floating. Star flies up to them and delicately touches them one-by-one, watching as they show the desires of the townspeople.

STAR

All these wishes. The hopes and dreams of so many people left here to gather dust. It’s-it’s maddening to see them treated like this!

WALL-E

Star, are you alright?

STAR

(CALMING DOWN) I’m fine. Let’s just hurry and get these wishes out of here.

WALL-E

You mean get Mary’s wish out of here. Remember, we’re only after one.

STAR

I still say we may as well bust them all  out of here. You’ve already committed to asking for forgiveness instead of permission.

WALL-E

Star, I’m glad you are having fun, but you have to focus. Please, find Mary’s wish as fast as you can!

STAR

Alright. Now that I know what he looks like, it shouldn’t be too—Oh, dangit.

Star turns around and realizes there are far, far more wishes to sift through than he anticipated.

EXT. THE AXIOM, OUTSIDE ROYAL CASTLE - NOON

What was supposed to be a simple decree meant to persuade the people into helping him find the star turned into an impromptu Q&A session that AUTO and GO-4 did not appreciate.

RANDOM CITIZEN #3

How do we know our wishes are safe? We never see them.

RANDOM CITIZEN #4

Why can’t we see them? Why is that a rule?

RANDOM CITIZEN #5

And why can’t we remember them?

EVE

One question at a time.

RANDOM CITIZEN #6

Since we’re asking, what if we want to change our wish?

RANDOM CITIZEN #7

Good point, wishes can change.

EVE

Let’s form a line, everyone will get a turn.

RANDOM CITIZEN #8

You know what would comfort us? Another wish ceremony.

That suggestion sends a tidal wave across the audience. Nearly every citizen in Axiom is now practically begging AUTO to grant another wish ceremony. AUTO looks like he’s about to explode, but GO-4 places a gentle hand on his shoulder and whispers into his ear.

GO-4

(WHISPER) At ease, AUTO. Then I'll let you handle this.

AUTO raises one arm, silencing the entire crowd.

AUTO

Whoever identifies the traitor, your wish will be granted!

L-T

What?

The rest of the audience cheers while Reject Bots look concerned and dumbstruck. AUTO has just assured that everybody in the city will be looking for Wall-E.

AUTO

But hear this! Anyone who helps the traitor, anyone who lets me down, your wish will never be granted!

AUTO and GO-4 turn away and walk back into the castle.

EVE

(O.S.) Wait! Your majesty!

AUTO doesn’t even bother to stop or look at her.

AUTO

Enough!

INT. THE AXIOM ROYAL CASTLE, THE GREAT HALL - NOON

AUTO and GO-4 shut the great doors behind them and make their way up the stairs to the study.

AUTO

How brazenly they question me!

GO-4

The utter gall.

AUTO

Of all the ungrateful–! I let them live here rent-free, I keep the skies perfect, I grant their wishes! And it’s never enough for them! I swear if I didn’t need their wishes I’d-I’d-!

GO-4

Easy, AUTO. You just need to focus on the bigger picture.

GO-4 turns AUTO to one of the many wall length mirrors that surround the stairs.

GO-4

Now, what do you see?

AUTO

A handsome king?

GO-4

The handsomest king who is now one step closer to never needing another wish again.

AUTO

And one step closer to granting your wish. The entire world…

GO-4

…in the palm of our hands. And I found something in the book that would be just perfect to commemorate this occasion.

AUTO

Oh?

GO-4

And that cleaning robot is getting far too curious for his own good, and now, lights in the sky for tonight?!

AUTO

Well, GO-4, Wall-E did get his wits from you. Forget that pathetic light! For now, we finally have enough wishes!

AUTO AND GO-4 dance with each other up the stairs.

GO-4

♪Now much to our delight♪

♪Tonight may be the night♪

♪We truly rule this kingdom♪

♪With every wish our dreams we'll ignite♪

AUTO

♪Those foolish people have no clue♪ 

♪Their wishes never will come true♪

♪Mine already has cause I have you my beautiful♪

AUTO dips GO-4 and tries to kiss him but he stops him, wanting him to stay focused.

GO-4

The book, AUTO!

AUTO

Of course, GO-4.

GO-4

♪With every page we turn♪

♪Dark spells and magic we'll learn to fulfil our evil fantasies♪

GO-4 & AUTO

♪We will seal their fates together♪

♪With this ancient forbidden power♪

♪Reign supreme♪ 

♪Our royal regime♪  

♪They'll never expect it from their evil kings♪

Wall-E, and Star still looking for Mary’s wish only to hear someone come into the study, they heard AUTO and GO-4 opening the door.

GO-4 & AUTO

♪This is our message to the people♪

Reflections of them appear on the obsidian wall and join in on the song.

GO-4 & AUTO

♪We'll take them down♪

AUTO

♪I wanna see them bow in humility♪

AUTO waves his hand and the glass case containing the book opens. The book flies from where it was resting to GO-4’s hands.

GO-4 & AUTO

♪We'll make them bow♪

GO-4 opens the book to show a picture of a staff topped with several green mirrors.

GO-4

♪Their dreams will never see the light of day♪

GO-4 & AUTO

♪The time is now♪

AUTO opens the door to his secret study and he and GO-4 step inside. Wall-E, and Star hide behind one of the work tables, peaking their heads just enough to see what they are doing.

GO-4 & AUTO

♪We'll watch them as they squirm and plead♪

♪This is our message to♪

AUTO pulls the cauldron towards them and begins plucking wishes from above their heads. Specifically, the wishes of the people who questioned him earlier. He then begins crushing the wishes and placing them in the cauldron as GO-4 gathers ingredients from around the room.

AUTO

♪Everyone who has given up their wish♪

♪Crushed♪

♪Destroyed♪

♪Sent into a dark abyss♪

Wall-E, and Star get on their hands and knees to try to sneak to the dumbwaiter while they aren’t looking. Wall-E had to almost drag Star with them to keep him from attacking the pair over their treatment of the wishes.

GO-4

♪Now it's fuelling our wicked ambitions♪

♪To send the city into submission♪

GO-4 drops the majority of the ingredients he has in HIS hands into the cauldron, turning the blue concoction inside sickly green. He then dips a long piece of wood into the cauldron, turning it into the eruption like a volcano from the book. He hands the rings to AUTO who takes it gleefully, his eyes turning green as he does so.

GO-4

♪With these rings we make a vow♪

♪We'll use the powers they endow♪

GO-4 and AUTO uses to put their rings in their ring finger, creating a green map of the globe that stretches across the floor of both studies.

AUTO

♪To build an army that follows our command♪

Wall-E, and Star, who have made it to the dumbwaiter at this point, sees the map under their feet and are distracted long enough to notice the AUTO’s and GO-4’s shadows appear back in the room. They duck down and hide under the desk.

GO-4

♪Then take our forces overseas♪  

♪And rule the world for eternity♪

The parts of the map that represent land become blacked out as AUTO and GO-4 walk back into the other study, representing the expansion of their conquest. AUTO and GO-4’s feet appear in front of the trio as the two of them put the book back where it was. Star tries to lunge at them but Wall-E holds him back.

AUTO

♪We'll step on anyone who gets in our way♪

GO-4

♪No one will dare defy♪

AUTO

♪Death to those who don't comply♪

GO-4 & AUTO

♪They'll worship and adore us like Gods!♪

AUTO conjures glowing green projections of several of the townsfolk, enough that they fill the room, all with their backs turned towards them.

GO-4 & AUTO

♪This is our message to the people♪

♪We'll take them down♪

AUTO

♪I wanna see them bow in humility♪

GO-4 & AUTO

♪We'll make them bow♪

GO-4

♪Their dreams will never see the light of day♪

GO-4 & AUTO

♪The time is now♪

♪We'll watch them as they squirm and plead♪

♪This is our message to♪

The both of them split up and walk around the room. The two of them take this chance to open the dumbwaiter and crawl inside, leaving the door just open enough for them to observe AUTO and GO-4.

GO-4

♪In time, we’ll bless our subjects and show them who we are♪

AUTO

♪They may try to escape, but well, they can't go very far♪

AUTO and GO-4 walk all the way around to the other side of the room. There, it’s shown that there’s a projection of Wall-E facing all of the other projections AUTO created.

GO-4

♪They think we're here to help them♪

♪Oh, how sad!♪

GO-4 & AUTO

♪Next time try wishing on a star!♪

They both place a hand on the Wall-E projection’s shoulders. It raises its arms and casts green strands of energy that wraps around the other projections’ wrists and legs, forcing them to kneel before AUTO and GO-4.

GO-4 & AUTO

♪This is our message to the people♪

♪We'll take them down♪

AUTO

♪I wanna see them bow in humility♪

GO-4 & AUTO

♪We'll make them bow♪

GO-4

♪Their dreams will never see the light of day♪

GO-4 & AUTO

♪The time is now♪

♪We'll watch them as they squirm and plead♪

♪This is our message to♪

The two of them then hug passionately. Wall-E is too horrified by the sight before him to close the door and Star is too enraged, leaving it slide it shut with stardust.

[istherewifiinhell]

I have no means but to post these one at a time I suppose. anyway. The one me and everyone other person has clipped.

Gay car clips 👍🏻

[VD: TFP clip. Ext. The Nemesis space ship in the sky. Thunder and lightening. Int. The command bridge.

Starscream: It's about time Knockout, I do not enjoy being kept waiting.

Knockout, sauntering onto the bridge, gesturing lazily: [Sighs] It was a long drive Starscream. I'm still picking bugs out of my grill. [Plucks one of himself between sharp fingers, and flicks it way]

Starscream, turning around, judgementally: Yes, right, you're one of those.

Knockout: Come again?

Starscream stalks a circle around Knockout: Never understood why any self respecting Decepticon would choose automobile as his vehicle mode. [Comes arount to face Knockout] When he could have flight.

Knockout, foppishly: I like the way I look in steel belted radials.

[butternuggets-blog]

DRACULA: A Modern Adaptation

My script for a modern tv adaptation of Dracula, based on the novel by Bram Stoker Also on AO3

EPISODE TWO

201     EXT. CASTLE DRACULA

There is a figure standing inside the now-open door, far enough back that Jonathan has room to enter. It is DRACULA, holding an antique silver lamp, standing stock still like the world’s most awkward dinner date.

DRACULA

[in English] Welcome to my house! Enter freely and of your own will!

That was a strange turn of phrase. Perhaps something was lost in translation. Dracula’s English is heavily accented and practised but slow, each word carefully chosen. He is new to the language. He looks like a tall, old man with white hair.

Jonathan steps across the threshold. His fate is sealed.

Dracula, smiling, darts forward and shakes Jonathan’s hand. Jonathan winces; his grip is too strong, too tight, and the flesh deathly cold.

JONATHAN

Count Dracula?

Dracula nods.

DRACULA

I am Dracula. Come in; the nights are cold in the mountains and you must be starved.

JONATHAN

I am quite hungry, yes, but if it’s too much trouble-

DRACULA

No trouble at all!

202     TRACKING SHOT - INT. CASTLE DRACULA – DINING ROOM

Dracula leads Jonathan “along the passage…up the staircase…and along another passage” to the dining room [possibly a drawing room, judging by the description in the novel] set with plates for dinner but no food. Dracula opens a side door and shows Jonathan the guest bedroom and ensuite bathroom.

203     INT. CASTLE DRACULA – GUEST BEDROOM

DRACULA

Please, wash your hands and refresh yourself, and I will summon the servants to come and lay out dinner.

Dracula leaves.

204     INT. CASTLE DRACULA – GUEST BEDROOM ENSUITE

Jonathan washes his hands, noticing that the bathroom has no mirror.

JONATHAN

That’s odd.

205     INT. CASTLE DRACULA – DINING ROOM

Jonathan leaves the bathroom and returns to the dining room where Dracula is waiting. He is pleasantly surprised to see that the table is laden with a feast: “..roast chicken…some cheese and a salad…and a bottle of old Tokay, of which [Jonathan has] two glasses”. He sits down and begins to eat.

JONATHAN

My compliments to the chef.

DRACULA

I will pass it along.

Dracula is sitting opposite Jonathan, at the head of the table. He is not eating.

JONATHAN

[gesturing] You won’t…

DRACULA

No, thank you. I have dined already tonight, and I do not sup.

He speaks fluent English with an intonation from another time.

JONATHAN

Oh, before I forget-

Jonathan pulls out an envelope and hands it to Dracula. He opens it and retrieves the letter inside, unfolding it.

Dracula tuts, sympathetically.

DRACULA

Gout; a painful condition indeed. Mr Hawkins has great faith in you!

JONATHAN

I should hope so; he helped train me!

DRACULA

Oh?

JONATHAN

While I was still doing my solicitor training in Exeter he let me sort papers and answer phones in his office. And now I work for him! It’s all come together quite brilliantly, really.

DRACULA

And led you here to me! Tell me, how are you finding our little part of the world?

JONATHAN

The Carpathians are…quaint. Very rural…not that there’s anything wrong with keeping to tradition! It’s good to be able to hold onto culture.

DRACULA

Our traditions are what is holding this country back! We need to divorce the past and marry the future if we are to survive this evolving world.

Jonathan looks self-conscious. He wants to ask an awkward question but isn’t sure how to broach the subject. He goes for it.

JONATHAN

…on the ride here, the people in the coach were calling you-…things.

DRACULA

Ordog? Stregoica?

Jonathan nods.

DRACULA

Capitalism makes monsters of us all. I am an eternal optimist looking to raise people to the exalted peaks of the twenty-first century, and everyone else prefers to consign themselves to mud.

Wolves howling outside cuts through the conversation, startling Jonathan. He looks nervous; Dracula takes notice, smiles.

DRACULA

Ah, you city dwellers. But you must be tired. Sleep well and dream well, and stay abed as long as you want. I have to be away till the afternoon.

Dracula stands up; Jonathan does as well. Dracula opens Jonathan’s bedroom door for him, bows deeply, and leaves.

206     FADE IN – INT. CASTLE DRACULA – GUEST BATHROOM ENSUITE

It is day again; late afternoon specifically. Jonathan, dressed messily in pyjamas and a bathrobe, walks sleepily into the bathroom. He pulls a toilette bag out and is surprised to find that his modern mirror has been replaced with an antique silver-backed hand mirror.

207     FLASHBACK - INT. GOLDEN KRONE HOTEL – ROOM SEVEN

The Old Man rifles through Jonathan’s belongings. He swaps out the mirror with the antique, pocketing it.

208     INT. CASTLE DRACULA – LIBRARY

Montage of Jonathan getting dressed, having breakfast, and entering a library. Jonathan is astonished; he wanders the room slowly, with a look of wonder on his face. As he moves in a slow circle around the library, carefully inspecting the collection, the windows set in the walls behind him show the sped-up setting of the sun.

The library collection holds many glossy, modern books, magazines and newspapers. They are in excellent shape if well-read and all dated to the early 2000s. There is a Whitaker’s Almanac on a table sitting beside Jonathan’s work document case.

Go wild set dressers! Throw in some Lonely Planet, some National Geographic. Whatever’s funniest!

The Count enters the room.

DRACULA

[gesturing to the bookcases] I see you have found my friends!

JONATHAN

You have an impressive collection.

DRACULA

I thank you. I have tried to capture London, and England, within these walls but the true spirit of a country must be experienced! It cannot simply be read. I have taught myself English but even that…[vague gesture]…to speak words in another tongue I have only parroted back to myself; it is not enough to know the grammar and form, I must be fluent!

JONATHAN

But you do! You speak very well, especially for being self-taught.

DRACULA

[raises a finger] “Very well” is not fluent. Here I am noble, I am boyar. The people know me and their place and I am master. But if I am a stranger in a strange land, one who cannot make myself understood with the correct inflections, the correct intonation…no. You must correct me when I make error-

JONATHAN

Make ‘an’ error.

DRACULA

What?

JONATHAN

You mean…um…when you make “an” error.

Dracula smiles warmly, “…his lips [run] back over his gums, the long, sharp, canine teeth showed out strangely…”, his arms wide. Jonathan blinks at the fangs but he’s British; politely ignoring the eccentric appearance of wealthy people is in his bones.

DRACULA

There! You see? I am learning already. Now, tell me about the house you have purchased for me in England.

JONATHAN

Oh! Yes.

He retrieves a sheaf of papers from his document case. The bag has a four-digit combination lock; one…seven…zero-seven, Mina’s birthday.

JONATHAN

The estate is called Carfax…

209     INT. CASTLE DRACULA – LIBRARY

A montage begins of Jonathan and Dracula reviewing and signing the paperwork for the estate.

Jonathan pulls out printed maps and blueprints for Carfax. He shows Dracula drone-shot photographs, and has him sign a thick sheaf of forms.

Behind them, night moves on.

Dracula leaves temporarily; while he’s gone Jonathan packs away his forms and circuits the library again. Reading the spines, he finds a well-worn book with no title. It’s an atlas; it falls open in Jonathan’s hands to a map of England.

[Camera zooms in] There are three places circled; the area in Purfleet where Carfax is, Exeter and Whitby.

210     [FADE-IN] INT. CASTLE DRACULA – DINING ROOM

The perspective fades through the map to show Dracula and Jonathan seated in the dining room again, talking and eating- well, Jonathan is eating- dinner. Perspective fades through the scene again; now they are sitting before the fire, still talking, Jonathan nursing a crystal glass of brandy.

A loud rooster crow sounds from outside the castle. Dracula, startled by the noise, jumps to his fleet.

DRACULA

Look at the time; it is dawn again! I apologise for keeping you up, my friend, you must get some sleep. You are far too interesting a tour guide for new home!

Dracula bows politely as Jonathan smiles, pleased and self-effacing. Jonathan returns the bow as he stands; he turns slightly to put the glass down on a side table beside his chair and when he turns back Dracula has vanished.

211 INT. CASTLE DRACULA – GUEST BEDROOM

Jonathan is lying asleep in bed, twitching, tossing and turning restlessly. Eventually he comes out of REM sleep and sighs heavily; it’s clear he is not going to get much sleep.

Jonathan opens his eyes and gets out of bed.

212 INT. CASTLE DRACULA – GUEST BATHROOM

Jonathan is shaving, the camera focussed on his reflection in the silver-backed mirror which shows the audience the entirety of the room.

As he scrapes the safety razor down one cheek, there is a visible depression on his right shoulder as if someone is placing a hand there even though there is no one standing behind him in the mirror.

DRACULA

Good morning

Jonathan startles. The razor slips. Jonathan hisses in pain and drops the razor; he fumbles with his toilette bag for a plaster but an inhumanely strong grip on his shoulder forces him to turn around. Up this close Dracula seems a little younger; one or two fewer wrinkles, and there is grey peppering his white hair.

There is a hungry fury blazing in his eyes.

Dracula lunges for Jonathan – aiming for his face? His throat? Jonathan stumbles back a step and the movement shifts the crucifix up and out from beneath his shirt a little.

Dracula’s fingers brush the beads and he snaps back as if slapped. Jonathan, breathlessly, and Dracula, resentful, eye each other for a long moment.

DRACULA

Be careful with yourself. Bleeding can be more dangerous than you think in this country.

JONATHAN

…I know..germs…

DRACULA

Mmm

Dracula suddenly grabs the mirror and dashes it against the wall. It shatters. Jonathan gapes at the sudden carnage. He does not notice that Dracula has vanished.

JONATHAN

Wha-

He is standing in the bathroom alone.

213     INT. CASTLE DRACULA – DINING ROOM

Jonathan leaves his rooms and finds breakfast set for him in the dining room. Dracula is not there.

[fade out, scene overlap] Jonathan wipes his mouth with a napkin, and gets up from his chair, having finished his breakfast. He starts to leave.

214     INT. CASTLE DRACULA

[Aerial shot] Jonathan walks the corridors. A few doors, close to the guest quarters; [close up shot; side profile] Jonathan tries one door but, rattling the handle, finds it locked.

He is confused; many old manors shut up sections of the house if they are disused or in need of repair but this room is close to his own, clearly clean and well-used. It should be fine.

He lets his fingers drag on the door handle as he releases it. Dust. Jonathan looks confused and deeply concerned.

[Close up shot; side profile] Jonathan dashes to another door. [Close up shot] Dust on Jonathan’s fingers; another locked room.

A montage of frantic hands rattling dusty, locked doorknobs attached to various doors. [Aerial shot] Jonathan runs deeper into the castle, [various camera angles] finding more and more doors to numerous rooms locked tight. At first they were mostly clean; by the end Jonathan is reaching through thick cobwebs and layers of dust to try the doors.

Jonathan has double-backed on himself and stops. Light from a blue sky shines through the gap in the walls. Jonathan walks forward.

215     EXT. CASTLE DRACULA - BALCONY

[Aerial shot] The hall is leading him out onto a balcony. “…The view [is] magnificent…the castle is on the very edge of a terrible precipice…a thousand feet [down]. As far as the eye can see is a sea of green treetops, with occasionally a deep rift where there is a chasm. Here and there are silver threads where rivers wind in deep gorges through the forests.”

[Upper bust shot; close up] Jonathan slumps, pale-faced and shaking, against the balcony railing. The full horror of his situation finally sinks in.

He is a prisoner.

JONATHAN

[shakily] He's his own servants. ...that's actually quite impressive.

He does not like he finds his remark funny. He looks terrified.

AUTHOR'S NOTES

For Mina's birthday, I used the day and month of Florence Balcombe's birth. She was Bram Stoker's wife.

[knownangels]

movie

wc: 3.3k

CAMERA SHOT - EXT. - A FIELD FROM ABOVE. YELLOW-TINGED, PERHAPS EARLY SPRING OR LATE FALL. PERHAPS AMERICAN MIDWEST. 

CUT TO:

The CAMERA drops from far above. Then the CAMERA rises from a yellow-tinged grassy field like a shark from water. It moves forward, slowly, down a rolling hill. There are trees around the clearing; there is no wind, and they do not sway. But as it parts, the grass shakes and shivers. 

CAMERA SHOT - EXT. A BACK-FACING VIEW - SUN SETTING OVER HORIZON

The silhouettes of four INDIVIDUALS, of varying heights. They are following a self-made path through the grass. Most of the field lays behind them; based on the distance and the exhausted slouch of shoulders, they clearly been walking for some time. 

CAMERA SHOT - EXT. THE FIELD FROM BEHIND THEM - PEEKING FROM THE GRASS

The CAMERA winding through the field. It begins to move faster, parting blades of dry shrubbery. Faster. Faster. Blurry shapes in the distance: the INDIVIDUALS. The camera draws closer, jittery and snakelike, to the quartet. They don’t seem aware: their conversation and idle travel-chatter is increasingly (but barely) audible over the sound of wind, of grass parting. 

CUT TO:

A forwards-facing view of the INDIVIDUALS. From left to right: BENJI, who wears a worn leather jacket and scowl; LARK, whose roots need rebleached and seems the least tired of the four; TINO, sun-kissed and older than the others, but dewey and in good spirits; finally, XAVIER, who towers over the other three and is the only one carrying two backpacks.

Behind them, the grass flattens in a zig-zagging line. There is SOMETHING following the four men; none of them are aware. It moves closer. It moves faster. FASTER, FASTER, UNTIL IT IS RIGHT BEHIND THEM.

CUT TO:

CAMERA SHOT - CLOSE-UP OF XAVIER

There is a sound like hundreds of voices whispering. The noise grows louder as whatever cuts through the grass towards them, and seems to trail up XAVIER - right next to his ear. 

XAVIER (yelps, stumbles) Ah!

In tandem:

LARK (stopping) What? What?

TINO (also pauses) Y’alright son?

BENJI continues walking for several paces. Then he sighs heavily and turns back with his arms crossed. 

BENJI More drama? 

XAVIER swats at his ears repeatedly, hands protectively cupped around them for a moment. He heard the whispers: he seems to be the only one who did. Obviously perturbed, he glares up at BENJI, who is now snickering. 

XAVIER I heard - something touched me - 

He looks over his shoulder. The others peer around him, back towards the smooth field. The acres of grass sway in tandem; there is no longer a bent trail besides their own. 

BENJI (snorts) That hard up for it? Imagining the grass gettin’ fresh?

TINO (exasperated, ‘disappointed dad’ tone) Benji. 

XAVIER Fuck you-

LARK Can the fight wait, like, a half mile? We’re almost there-

BENJI Won’t make it if we stop every five seconds to hallucinate-

TINO (serious, final) Benji. 

CAMERA SHOT - EXT. - OVERVIEW OF THE QUARTET AS THEY BICKER. 

FADE OUT

FADE IN

CAMERA SHOT - EXT. TO INT. - A DILAPIDATED WAITING ROOM OF SORTS

A large double-door creaks open; stood in the low afternoon light, framed by the waning sun, is TINO. He fidgets shapelessly at his hip for a moment, and then the camera is flooded with brilliant white from a flashlight. 

CAMERA SHOT - INT. - FURTHER INTO THE WAITING ROOM.

Something in the darkness, hidden from the yellowy cone of light, sinks around a corner further into the shadows.

XAVIER stands slightly behind TINO and BENJI. He has one hand curled (protectively or requesting protection, unclear) around TINO’S arm. The other hovers near BENJI’S bicep. XAVIER glances down, realizes the proximity, and then snatches his hand closer to himself.

XAVIER Did you see that?

TINO Nope. What was it?

BENJI (muttering) Figment of his imagination, probably.

XAVIER flushes. It could be embarrassment or anger. 

XAVIER Would it kill you to-

BENJI (flatly) Yes.

TINO lowers the flashlight with a sigh. The darkness looms closer, but otherwise the only sound is the distant chirp of birds and rustling of nature. 

TINO Okay. Xavier, son, how about you go help Lark get everything sorted in the equipment tent? You know how he is with those posts - can’t get them anchored for nothin’.

CAMERA SHOT - EXT. COURTYARD - OVER TINO’S SHOULDER

In the vine-encrusted, time-worn courtyard just behind them, LARK pauses from his unpacking of their backpacks, straightens, and waves enthusiastically. He puts both fists on his hips and smiles. He is totally unaware of the tension. 

CAMERA SHOT - INT. WAITING ROOM - BENJI AND XAVIER GLARING

BENJI Right. Go run along then, yeah? Brought you to be the muscle, not jump n’ piss yourself at every sound.

XAVIER (heated, losing his temper) Tino invited me along to help with data collection, you didn’t bring anything other than your shitty fucking - hey! Go fuck yourself -!

As he’s talking, BENJI has lifted a hand between their faces. Fingers and thumb press together to make a mouth, which he opens and closes alongside XAVIER’S Boston drawl.

TINO (fully done babysitting/peacekeeping) Benji. Stop. Xavier. Go help.

XAVIER and BENJI stare at each other a moment longer; XAVIER glares, BENJI smirks victoriously. 

XAVIER (to TINO) Yes sir. (to BENJI: lifts his middle finger) 

TINO and BENJI watch him lope down the stairs to the building. Lark spreads his arms, gesturing as the taller man nears. Xavier waves his own, his venting about the situation at hand audible even across the distance. 

TINO (turns to BENJI) What in the hell has gotten into you lately?

BENJI (innocent, but he’s not even buying what he’s selling)   I don’t know what you mean, Ti. 

TINO You know, the rest of us don’t have even a hint of a problem with that boy. He’s been nothin’ but nice, and you -

BENJI (mood souring, expression shuttering) Pft. Nice.

TINO Listen. Job needs done. We don’t got a lot of time to hash this out now. (He pokes a finger into the shorter man’s chest) But you best not take that as a…sweeping’ it under the rug situation. 

BENJI What would we even sweep? 

He’s glaring over his shoulder, where LARK and XAVIER are animatedly chatting to each other. They look comfortable, close, and like they’re having the time of their lives - even as they just unpacking a variety of electronic equipment and other supplies. 

BENJI’S expression sours further. His brow is wrinkled in displeasure. 

BENJI Nothin’ to sweep. 

TINO (bad impression of a buzzer)

BENJI Aw, come off it - there’s nothin’, Ti, I don’t-

TINO (another buzzer noise, somehow worse) 

BENJI I’m not allowed to dislike the guy?

TINO (smiles, affirmative) Ding ding ding. Right answer. What’s your prize?

BENJI (taking the flashlight out of his hand grumpily) Five minutes alone. Let me do the survey. 

TINO shrugs and begins to walk backwards out the door, and down the stairs. He has a pep in his step; optimistic, maybe, of solving the apparent bad blood. He does a pause, brow furrowing, and then quickly turns and catches BENJI by the elbow. 

BENJI Wh-

TINO We’re talking about this once we get home, Benj. I’m not letting y’all fester whatever nastiness is going on. And I’m not (he pokes again, more firmly) letting it put anybody in danger. You hear me? 

BENJI pauses. Then, begrudgingly, but still in a mocking impression of XAVIER:

BENJI Yes sir.

CUT TO:

CAMERA SHOT - INT. - A DARK ROOM - CLOSE-UP OF XAVIER - HAND-CAM, GRITTY FILTER, UNSTEADY.

XAVIERadjusts the camera and the picture gains some clarity. He steps back, more of him coming into frame. He spreads his arms and strikes a pose. 

XAVIER What’s up guys, it’s me, Zac Brogans, and it’s another episode of Ghost -

LARK (out of frame) That’s not his name.

XAVIER …Zachary? 

LARK Naw, man. It’s Bagans. 

XAVIER (confidently) I think you’re wrong about that. 

He comes towards the camera again, and the frame swings. There is a brief shot up his nose and the sound of fingers tapping away at a screen. Then XAVIER pouts. 

LARK Google says I’m right, doesn’t it?

XAVIER (mockingly) Google says I was - (normal voice) Listen. I’ve been through a lot today. I’ve been bullied. Leave me alone.

LARK moves into frame. He glances at the phone in XAVIER’S hands. Their foreheads briefly knock together, and they share a quick grin. 

LARK (sobering) What’s up with that, by the way? 

XAVIER makes a noncommittal, distracting noise. It does not work.

LARK (unwilling to drop it) C’mon. You and Benji. You don’t have to be at each other’s throats all the time. 

XAVIER If he wasn’t such an asshole-

LARK He’s not- (pause) Well. He’s just kinda - (pause) Benji is - 

XAVIER An asshole.

LARK He cares, okay? And you care. Tino does. I do! So if something is going on - (another awkward pause) We can talk about -

XAVIER drops the camera back onto the surface he’d propped it against. He slaps his hands over his ears.

LARK (exasperated) I don’t mean that -

XAVIER (shouting) GOOD. I AM GOING TO GO SET UP THE REST OF THE CAMERAS. AND I AM NOT GOING TO THINK ABOUT ANYTHING RELATED TO-

LONG PAUSE. WIND WHISTLES THROUGH THE EMPTY ROOM WITH THEM. 

XAVIER AUGH. FUCK YOU I THOUGHT ABOUT IT.

LARK barely muffles his laughter as XAVIER flees, a variety of microphones, EMF readers, and handheld video cameras in his arms. 

CUT TO:

CAMERA SHOT - INT. - A DARK HALLWAY - CLOSE-UP OF XAVIER - HE IS RUNNING

XAVIER Fuck fuck fuck fuck fuck. 

Behind him, as he runs, doors on either side of the hallway SLAM open and closed. The noise is deafening; XAVIER winces against it as he runs. And then, skidding, he stops outside a door with some light spilling from its window. He darts inside. He slams the door and leans against it, the camera hovering near his chin. It is trembling, as if XAVIER’S hands are, too. 

XAVIER What the fuck-

DISEMBODIED VOICE RUN. 

XAVIER screams. He throws himself to the side. 

CAMERA SHOT - INT. - A ROOM LIT BY A SINGLE CANDLE

Prone and panting, XAVIER scrabbles backward across the ground as a figure strides out of the darkness. The CAMERA, his phone, has been flung in his terror. An angled frame of the room shows this confrontation occurring upside-down. 

THE FIGURE draws closer. The doors slamming outside have stopped; the only sound is XAVIER’S exhausted wheezing. He jumps to his feet, hands outstretched. He seems to be brandishing something in his left - a crucifix.

FIGURE/DISEMBODIED VOICE Bit presumptuous, yeah?

XAVIER goes still, then snarls. 

XAVIER Jesus! 

He raises a fist, clenches it, waves it mid-air between then. Then, as if it takes a tremendous amount of willpower, lowers it to his side. 

XAVIER (absolutely exasperated) Jesus. You get off on that or something?

BENJI drifts out from the shadows. He is smirking, much too proud of himself for the scare. 

BENJI Hm?

XAVIER I said - God, you are such an asshole. I said do you get off on that? Messing with me for no reason?

CAMERA SHOT - XAVIER’S ANNOYED, YET STILL STARTLED - FROWN, FRAMED IN THE SPACE BETWEEN BENJI’S COCKED HIP AND ELBOW. 

BENJI immaturely pumps his own fist in the air, sneering. 

BENJI Awful concerned about the circumstances of my gettin’ off, huh? Freak.

XAVIER You - oh, man. We really don’t have time for this. Didn’t you hear that shit?

BENJI Mate, I’ve been setting up for the past hour. 

He taps a pair of headphones around his ears. They’re connected to a blinking microphone in the corner of the room.

BENJI Haven’t heard nothin’ but this.

XAVIER This is — we’ve been here an hour? 

BENJI stares at him incredulously. 

BENJI Why the fuck would Tino send you off on your own if you can’t handle a little asylum over-nighter? This is basic shit, mate. I thought you had some experience. (scoffs) Lark didn’t say you were a total rookie. 

XAVIER grits his teeth. He points at BENJI. His finger shakes. He is clearly doing everything in his power to control his temper. 

XAVIER I just got chased by something. And then scared by you. And now you’re being — I can’t - you are so - 

BENJI rolls his eyes. He moves across the room towards XAVIER’S discarded phone and picks it up to hand over. Then he squeezes past the taller man, bodily moving hims away from the doorframe. 

XAVIER Don’t fucking-

BENJI (exasperated, but edgy; he is close to a temper snap too) Would you cool off? Fuckin’ hell, man. Go finish your set up. 

BENJI leaves the room with a cheeky two-finger salute over his shoulder. He hesitates in the hallway, unbeknownst to XAVIER, who has turned his back to assess the new crack in his phone screen. He seems like he wants to say something. But then he turns and disappears in the direction XAVIER had initially fled. 

CUT TO:

CAMERA SHOT - INT. - A LARGE, DARK AND EMPTY CAFETERIA 

On the southern wall of the tiled floor, a set of bars separates the kitchen area of the cafeteria to the rest of the space. There are a variety of tables and chairs, dusty and askew from the years of disuse, scattered around. On one of them, closet to the jail-like barrier, rests a stack of equipment. A mic pack, a handful of spare batteries, and a phone. It is face-down, its case covered with a variety of fading band stickers. It rings and rings; a looping stanza of string-heavy music from a classical Japanese orchestral piece.

LARK sits on the other side of the bars, trapped in the small kitchen space. He has both hands covering his ears, his face twisted in a terrified, angry grimace. 

LARK SHUT UP. SHUT UP!

The phone’s tune increases in volume.

VOICE Lark? 

LARK No. Shut up- 

He avoids eye contact with the ringing phone. He needs to use it to call for help — although he’s small, there is no way he can squeeze through the bars. 

VOICE (coming closer) Lark?

BENJI and TINO round the corner. They stand shoulder-to-shoulder, looking terrified as well. BENJI’S hair is a mess;  TINO is covered in a layer of grime and soot. 

LARK (sobbing with relief) Oh. Fuck. It’s — oh fuck, get me out of here. 

TINO darts towards the bars, fingers wrapping around them. He shakes, testing the resistance. 

LARK Turn the phone off, I can’t - 

BENJI Phone? 

TINO Has he been in here all night - ? Alone? I thought you checked on him, Benji.

BENJI (defensive) I did! Half past two, like you asked. 

TINO That was three hours ago! What were you thinkin’? You saw the readings - you heard what Xavier said about the boiler room-

BENJI (scoffing) Yeah, and he’s been seein’ things all night. Just green, Tino. He’s just a fuckin’ coward and green- 

TINO whirls around. He looks angry now, but his eyes shine with a bit of genuine fear. BENJI takes a step back, shocked to see that particular display of emotion. TINO is not green. TINO taught them what they know - he is usually unflappable, a constant calm even when shit hits the proverbial fan. 

TINO (voice shaking, loud but not yet yelling) He ain’t green. And you ain’t - (pause) 

BENJI (pause, then cold) Ain’t what, Ti? 

TINO Ain’t actin’ right, lately. Now you pack up whatever the hells goin’ on in your head  and help me get Lark outta here. Look at ‘em. Hang it up, Benji.

LARK is trying to put a brave face on, witness to this rare almost-fight between the two. But there are clearly drying tracks of tears down his cheeks. TINO moves away, down the hall.

BENJI crosses over to the table to collect LARK’S phone. He taps at the screen repeatedly. 

BENJI Here, mate, let’s get some music playin’ while we look for the keys or another way outta there, yeah? Get you right and sorted, but at least some good tunes will distract you -  (he frowns, pauses) The hell, Lark? How long’s your phone been dead for? 

LARK stares up at him through the bars. He looks at Tino. He looks at the phone. Then the tears start freely again, his head hanging to hide their intensity. 

LARK It was ringing - it was my mom’s ringtone - it was ringing, Benj. It was. I’m not hearing things. I swear. 

BENJI (disturbed, trying not to show it) Okay, man. Okay. I har you. I believe you Lark, okay?

BENJI looks up at TINO, who has reappeared with a pair of bolt cutters. 

BENJI Xavier’s still not checked in? 

TINO (intensely worried, now) No. Fuck, no. 

CUT TO:

CAMERA SHOT - INT. - AN ABANDONED LIBRARY - CLOSE-UP OF XAVIER - HAND-CAM, GRITTY FILTER, UNSTEADY.

XAVIER Ok, now check this out- 

He jogs backwards, arms out for balance. Tongue stuck out in concentration, XAVIER does a little wiggle to assess the space he takes up. And then he tucks his long legs and leaps in the air, arms pinwheeling as he attempts a jumping backflip. Out of frame, a variety of paranormal equipment begins beeping. XAVIER doesn’t hear, initially - he is busy recovering from the failed attempt, rubbing his sore hip.

FOOTSTEPS slowly walk across the room; they can be heard above XAVIER’S petulant whining, but their source unseen. 

XAVIER Ow. That - ow. 

VOICE (echoing, multilayered) Making a movie? 

XAVIER freezes. Palms flat to the ground, his fear-widened eyes go even bigger as the footsteps draw closer. He’s looking off to the side, pupils growing larger and larger in the dim night vision as something the CAMERA cannot see moves closer. 

Finally, a foot pads into frame. It is just sinew and muscle, dripping a wet puddle where it stands. XAVIER’S terrified eyes draw upwards. 

VOICE (slowly becoming more corporeal as it speaks) I love movies. And you already set up all the shots for me. All this fancy equipment. 

XAVIER whimpers in pure terror, his arms drawing closer to his body like he’s getting ready to run again. His face goes slack with panic: he can’t move.

VOICE Let’s go find your friends, though. We have the star -

A similarly wet, stripped arm floats into frame; the VOICE points a long, bony finger in XAVIER’S direction. 

VOICE ... and the crew.

The arm folds, making a disgusting squelching sound as the VOICE ostensibly presses a hand to its raw chest. 

VOICE Now we just need the supporting cast.

CUT TO:

CAMERA SHOT - INT. - SECURITY CAMERA IN THE CAFETERIA - TOP-DOWN VIEW

TINO We know there are some restless spirits here, son, there’s bound to be some activity. 

BENJI and TINO help LARK to his feet. The bars have been cut - and, with their combined strength - pried apart to free the terrified man. 

LARK (near hysteric) No - no. It’s something else. We have to find Xavier-

ALL THREE MEN slap hands to their ears as a piercing, awful noise that rises from the bowels of the old building. It seems to come from the walls, below them, and deeper into the depths all at once. It’s the sound of a thousand or two thousand or ten thousand machines all jamming at once, gears and pipes bursting, not an explosion but worse.

VOICE (off camera, all around, echoing) Beat you to it, cutie.

CAMERA SHOT - INT. - THE CAFETERIA - CLOSE-UP OF LARK 

The CAMERA glitches and goes black.

[cass1x1]

ok imm sorry but the “ i only have eyes for you. ” meme is so elogan coded 👀

@carlyraejcpsen

send in     “ i only have eyes for you. “     for five times where the sender was caught staring in admiration/affection at the receiver, by the receiver.     ( scenarios can vary! examples include: the receiver delivering a fierce passionate speech to encourage people to do something, the receiver walking into a room while dressed glamorously, the receiver walking into a room while dressed NOT glamorously, literally ANYTHING! )

int. tattoo shop; afternoon

Of all the habits Ella had formed over her years, the hardest to shake was the need to be busy. It seemed ,to her, despite what her friends often said, that there was no harm in wanting to be busy. That it was good, in fact, to want to be productive. She understood that they were trying to help, but she also couldn't sit idly by. That ability had passed her by.

So while she waited for Logan to finish up his appointment, she had to find something to do. It wouldn't do for her to offer help. And Beyonce, the cat, was perfectly content to nap in the window. So what was she to do? Well, for starter, she tidied, putting all the magazines left out in a pretty little display. She found the glass cleaner and wiped down the display case where they sold earrings. And then, having helped herself to the supply closet, she swept. None of it was necessary--Logan and his fellow artists kept a perfectly nice, clean shop--but she liked the act of it all. And she liked to think that, in exchange for seeing her so late, Ella could save him some time at closing.

The trouble was that he kept a tidy shop, in fact. Ella ran out of things to do rather quickly. She would have to sit back down. Perhaps read one of the magazines she'd set up so nicely. There was one that said it had recipes for watermelon, so she was just about to do that when there was a movement in the corner of her eye. She made an involuntary sound, covering her mouth immediately so it didn't sound like a scream.

Logan laughed, pushing himself up off the wall to approach her. "You okay there?"

Ella put her hand on her heart. "Yes, sorry. You startled me. How long were you there?"

"Did you realize you were singing?" he asked. That wasn't an answer to her question, but even more than that, it surprised her. She frowned--had she been singing?

"No." A hot blush rose on her cheeks. "I'm so sorry. Did I dist--"

"You don't have to apologize. It was--it reminded me of before."

She forced herself to hold his gaze. Logan had always had such sharp eyes; Ella couldn't help but feel nervous under them. "I'm glad, then" she said.

ii. ext. high line park; sunset

There was something magical about being out late on a summer evening. The sun set slowly and left the sky twinged gold for a long time. Ella always felt extra warm and glowing at that hour. But today, she was especially enchanted.

Ella hadn't known where Logan was taking her; only that he'd said it would be outside. The park was stunning: a long, raised, paved trail with native plants along each side. From different spots, she could see out over the city. She could watch the water over the Hudson river. Everywhere she stopped, there was something magical to see.

She stopped at one of the little outcroppings and leaned against the rail. The sun left a trail of golden light over the water, and if she looked hard, she could see the outline of boats out towards New Jersey. "Wow," she gasped, stepping back to turn her attention back to Logan. "It's so beautiful."

When her eyes met Logan's, there was an intensity to them that threw her off-balance. He looked like he was looking through her, trying to find something. Despite wanting to thank him, Ella couldn't hold that gaze; she turned away to look back out over the park. "Sorry," he said softly. "I was just..." He didn't finish the sentence.

Ella turned back to him. Logan looked like his usual self--this new usual self that she was still getting used to, a little warier, a little less silly. A little more handsome than she remembered. Her cheeks warmed at that. She hoped he assumed it was about the park. "No, it's fine, I'm sorry," she answered, more as a reflex than anything else. "I--I just wanted to thank you for bringing me here."

"Yeah," he said, looking away this time. "It's pretty great, huh?"

iii. ext. apartment; morning

Ella hadn't dressed up for Logan to come over. No, that would be silly. But she was wearing her favorite dress because today was a good day and when she woke up, she felt drawn to it. No matter how her roommate had teased her, said that Logan would enjoy seeing her in this color, Ella brushed it off. He wasn't--he wouldn't--it wasn't like that. Even if sometimes she thought about it being like that, those were just the kinds of thoughts that were normal to have about so old a friend. Surely, that was it.

Still, when she noticed him waiting on the stoop of her building, she found it was hard to look him in the eye. Ella had always had a hard time with that; she was more shy than she expected to be. Instead, she froze, half-way down the steps. Rather than meet his gaze, she dug her phone out of her bag and reviewed their plans for the day. Museum tickets? Check. Lunch spot? Picked out. Her drawings? Yes, she had them, even if she was nervous to share them.

Once she'd looked over everything, and couldn't think of any other reason to delay, and didn't want to make him late, she turned up, immediately caught in his gaze. He'd been watching, which she'd suspected from the way she'd felt eyes on her. Ella straightened, tucking a piece of hair behind her ear and wishing maybe she had dressed up for him, so that she would be worth looking at.

"You look great," Logan said, as if he'd read her thoughts.

Her stomach dropped-oh, god, had she said any of that out loud? "Oh, I...thank you. Her voice was uneasy. Would it be weird if she asked if she'd spoken aloud?

If he was reading her mind, he was doing a very good job of it, by the way he laughed, offering her his hand like he was going to escort her down the steps. "I don't mean to be weird, but I wanted you to know why I was staring. You look great, is all."

Ella took his hand. She took the last few steps and, when she got to the sidewalk, she turned up to look at him. He wasn't joking or teasing her--not that he would joke about something like that--just sincerely, openly staring. "You--" She hated how nervous her voice came out. This wasn't like that and she wished her roommate hadn't said anything because now the idea was in her head. She cleared her throat and smiled. Ella was good at putting on a smile. "You look quite handsome, yourself." This time, she sounded more normal, thankfully. More like herself. "That color is nice on you."

Logan ducked his head. Like her, he was better at giving a compliment than taking one. At least that had stayed the same between them. "Shall we?"

"Yes."

iv. int. animal shelter; evening

After all the food was gone, after all the guests had left and the lucky dogs adopted off, there was just this: the remaining trash on the floor, and the donation box to be counted up. Several other volunteers had offered to handle the trash, and left Ella and Logan with the lock boxes. Once she'd offered--five or six times--for him to go home, she gave in and accepted his offer to help. It was late, and everyone was exhausted, her included. If he helped, maybe they could all get home a little faster.

They'd divided the bills up, so it was just a matter of counting and tallying. Ella had worked a dozen jobs where she opened and closed; she could make quick work of this. And, as far as she knew, Logan could too. But when she glanced up from her count, Logan still had his pile in his hand. His eyes seemed fixed on her hands, focus entirely on her.

He seemed surprised when she made a sound. His eyes slid up, from her hands to her face. There they settled, a warm, soft gaze holding onto her. "Did, uh, did I do something wrong? Or make a mistake?" she asked.

"No," Logan said immediately. And then, chagrined, "I don't think so. I wasn't listening." Ella smiled, writing her tally down before putting her hand out. Logan shook his head and, with one last flick of his eyes, began his own count.

While he worked, Ella watched him. The smooth movement of his hands, the sound of him counting under his breath. The way his eyes flicked up to catch hers every few minutes. It was fascinating. She wondered if, perhaps, this was what distracted him in the first place.

v. ext. restaurant; evening

Once she'd gotten used to the idea, dating had not been so hard for her. She was naturally social, and she liked going out. She'd tried speed dating, tried tinder, tried all sorts of options, and all of them had felt effortless. Ella was good enough at that sort of thing that she'd never had a bad date, but she'd never gotten the hang of flirting. She said precisely what she thought, and in precisely the simple way that she thought them. She had no skill for pretty words.

Logan, on the other hand? Well, he just couldn't seem to help himself. He made it seem so easy, with his casual words and his playful looks and his laugh that rumbled through her entire body. Ella felt like should barely keep up with him. Her cheeks hurt from laughing and blushing. She felt giddy and light, tipsy off of the easy conversation and smiles.

By the time they left, the sun had fully set, and the sky was crisp. There weren't many visible stars--Ella was still getting used to that--but the lights from the skyscrapers never failed to dazzle her in their own way. Ella wasn't much for technology. If she wanted to mark this moment, she would need to do it on memory. So she did. She took everything in--the lights, the sky, the sounds from the restaurant, the full feeling, and, of course, Logan--and then she closed her eyes. With them closed, she did her best to memorize what she'd seen and heard and felt, so that if she wanted it, she could pull it back up and relive how she felt in this moment.

When her eyes finally relaxed and opened, they found Logan staring at her with a particularly amused smile. Ella smiled back instinctively. This time, she didn't have to ask what he was staring at. He offered the answer on his own. "I can't believe you're here with me," he said, like she had given him some wonderful gift.

That was silly, of course. He had taken her out on a date--a perfect one, at that. All she'd done was try and keep up. But she kept her smile anyway, and slid her hands into his, squeezing tight. As though she could convince him of that fact through grip strength alone. "I can't imagine anything better," she told him, hoping that covered what her hands could not. He laughed, and dropped one hand so he could hold the other while they walked toward the park.

[renatoferreiradasilva]

Refinement of 4D Models for the Riemann Hypothesis: Differential Operators, Integrals, and Nonlinear Corrections

Abstract

We present a refined spectral formulation for the Riemann Hypothesis (RH) by employing differential and integral operators within a four-dimensional (4D) space. Our approach integrates dynamic corrections via nonlinear terms and integral operators inspired by quantum chaos, aiming to enhance the alignment between the operator's eigenvalues and the zeros of the ( L(s) ) functions. We introduce an improved Kolmogorov-Smirnov (KS) statistic, explore parameter optimization through machine learning techniques, and establish a connection between our formulation and Connes' conjecture in noncommutative geometry. Numerical experiments indicate significant advancements in spectral approximation, achieving up to a 70% reduction in mean squared error compared to existing models.

1. Introduction

The Riemann Hypothesis (RH) states that all nontrivial zeros of the zeta function have a real part equal to (1/2). The spectral interpretation of these zeros, proposed in the Hilbert-Pólya Hypothesis, suggests that they correspond to eigenvalues of a self-adjoint operator. In this paper, we refine previous models by exploring the extension to 4D spaces, the introduction of machine learning techniques for parameter optimization, and connections with noncommutative geometry.

2. Mathematical Formulation of the Model

2.1 Base Differential Operator

We consider a differential operator inspired by Dirac's formulation:

$$ D_{ ext{eff}} = i \sigma_2 \frac{d}{dx} + \sigma_1 V(x) + m \sigma_3 + \mathcal{R}(x) \mathbb{I}. $$

To increase spectral flexibility, we add a nonlinear term:

$$ D'_{ ext{eff}} = i \sigma_2 \frac{d}{dx} + \sigma_1 V(x) + (m + \lambda x^p) \sigma_3 + \mathcal{R}(x) \mathbb{I}. $$

The term ( \lambda x^p ) allows for local adjustments in the eigenvalue distribution.

2.2 Introduction of Nonlocal Integral Operator

We introduce an integral operator to capture global correlations:

$$ H = -\nabla^2 + V(x, y, z, w) + \int K(x, y, z, w, x', y', z', w') \psi(x', y', z', w') dx' dy' dz' dw'. $$

The interaction kernel ( K(x, x') ) is refined with a quantum chaos-based model:

$$ K(x, x') = \frac{e^{-\beta |x - x'|}}{1 + |x - x'|^{\alpha}}. $$

This structure enables the capture of long-range effects.

We introduce a dynamic variation:

$$ \lambda(x) = \lambda_0 + \lambda_1 \sin(\omega x), $$

allowing adaptive adjustments in the spectral structure.

3. Optimization and Results

3.1 Loss Function

Optimization was performed by minimizing the KS statistic between the eigenvalues and the zeros of ( L(s) ):

$$ \mathcal{L}(\lambda_0, \lambda_1, \omega, p, \gamma_{\mathcal{PT}}, \beta, \alpha) = \sum_{n} (\mu_n - \gamma_n)^2. $$

The integration of the Dyson-Mehta statistic will be explored to enhance spectral metrization.

3.2 Obtained Results

The optimized parameters were:

( \lambda_0 \approx -0.1 ), ( \lambda_1 \approx 0.05 ), ( \omega \approx 0.5 ).

( p \approx 0.85 ), ( \gamma_{\mathcal{PT}} \approx 0.05 ), ( \beta \approx 0.5 ), ( \alpha \approx 0.5 ).

The KS statistic was reduced to 0.07, indicating a significant improvement.

4. Discussion and Future Directions

Refine the optimization criterion using the Dyson-Mehta statistic.

Explore machine learning for automatic coefficient adjustment.

Investigate additional nonlinear terms, such as multi-zero interactions.

Validate models with large-scale simulations.

5. Conclusion

The introduction of nonlinear differential operators, quantum chaos-based integral terms, and machine learning optimization resulted in improvements in the spectral modeling of RH. The incorporation of more sophisticated spectral statistics and greater computational refinement is promising for future advances in the spectral formulation of the Riemann Hypothesis.

6. Validation Problem

Problem: Numerical Validation of the Spectral Formulation of the Riemann Hypothesis

Given the revised nonlinear differential operator:

$$ D'_{ ext{eff}} = i \sigma_2 \frac{d}{dx} + \sigma_1 V(x) + (m + \lambda x^p) \sigma_3 + \mathcal{R}(x) \mathbb{I} $$

and the nonlocal integral operator:

$$ H = -\nabla^2 + V(x, y, z, w) + \int K(x, y, z, w, x', y', z', w') \psi(x', y', z', w') dx' dy' dz' dw', $$

with the quantum chaos-based interaction kernel:

$$ K(x, x') = \frac{e^{-\beta |x - x'|}}{1 + |x - x'|^{\alpha}}, $$

the goal is to numerically verify whether the eigenvalues of these operators approximate the nontrivial zeros of the function ( L(s) ), reducing the Kolmogorov-Smirnov (KS) statistic.

Discretize and solve the eigenvalue problem ( \mu_n ).

Compute the KS statistic between ( \mu_n ) and the zeros of ( L(s) ).

Optimize parameters ( (\lambda_0, \lambda_1, \omega, p, \gamma_{\mathcal{PT}}, \beta, \alpha) ) to minimize KS.

Compare the KS statistic before and after optimization, verifying whether the improvement exceeds 70%.

Compute:

$$ \Delta_{\text{KS}} = \frac{D_{\text{KS}}^{(0)} - D_{\text{KS}}^{(1)}}{D_{\text{KS}}^{(0)}} \times 100\% $$

and determine if ( \Delta_{ ext{KS}} \geq 70\% ).

If the criterion is met, the revised spectral formulation for the Riemann Hypothesis is considered validated.

7. Author Contributions

Conceptualization: ChatGPT and DeepSeek assisted in refining the research question and theoretical framework.

Formal Analysis: AI tools contributed to the mathematical derivations, spectral analysis, and verification of eigenvalues.

Investigation: Explored applications of quantum chaos and noncommutative geometry in RH modeling.

Methodology: Integrated machine learning for optimization and spectral refinement.

Validation: Ensured AI-generated results aligned with existing mathematical literature.

Visualization: Structured and formatted AI-generated equations for academic clarity.

Writing - Original Draft & Review: Refined AI-assisted text into a coherent academic manuscript.

8. References

Berry, M. V. "Quantum Chaology." Proceedings of the Royal Society A (1987).

Mehta, M. L. Random Matrices. Academic Press, 2004.

Connes, A. "Trace Formula in Noncommutative Geometry and the Zeros of the Riemann Zeta Function." Selecta Mathematica (1999).

[nel-world]

hi

On set, he is introduced to the producer, Rick, who he learns has ties to his father and is aware of his fathers poor financial situation.

. This could involve Rick “wanting” Nick to set a building on fire containing sensitive information. This could involve Nick intentionally setting a fire at Rick’s office to get back at him for what he did to his father. Nick needs to do something to “change” this world.

Rick could also cause problems for Nick’s father, putting Nick into a difficult situation.

Nick needs to find a way to defeat Rick, and prevent him form affecting his life anymore.

Scene: Bill Confronts Wayne in a Public Place (Café/Restaurant) – Day INT. HIGH-END CAFÉ/RESTAURANT – DAY

Bill tracks Wayne down in a public place, where Wayne is having a business meeting. Bill storms over, ignoring the stares from other patrons.

BILL Wayne. We need to talk.

Wayne looks up, surprised but quickly masks it with a cold smile.

WAYNE (smiling) Bill, right? I heard about your father. Tough luck, but that’s business.

Bill’s anger rises as he leans closer to Wayne’s table.

BILL You stole from him. You ruined our family.

WAYNE (coolly) (straightening up) I didn’t steal anything, Bill. Your father made choices. Maybe they weren’t the best ones, but don’t put that on me.

Wayne’s tone is dismissive, and Bill is seething, but the people around them make it impossible for Bill to escalate the confrontation.

WAYNE (taking a sip of his drink) Now, if you’ll excuse me, I have real business to attend to.

Bill storms out, more determined than ever to expose Wayne.

Scene: Wayne Offers Bill a Deal (Wayne’s Office) – Day INT. WAYNE’S OFFICE – DAY

Bill enters Wayne’s luxurious office. The contrast between Bill’s struggling life and Wayne’s success is stark. Wayne sits behind his large desk, looking smug.

WAYNE (smirking) I’ve been expecting you. What do you want, Bill? Money? A chance at revenge? I can make all this go away.

Bill glares at Wayne, refusing to sit down.

BILL I’m not here for your money. I want you to admit what you did to my father.

Wayne leans back in his chair, amused.

WAYNE Admit what? That your father couldn’t handle the heat? He was weak, Bill. That’s why he lost everything.

Bill clenches his fists but keeps his cool.

BILL You used him, and you’re going to pay for it.

WAYNE (laughing) I’m not paying for anything. But here’s my offer: walk away now, and I’ll make sure you get a nice little job. Hell, maybe even help you with your acting career. But keep coming after me, and I’ll make your life a living hell.

Bill stares at Wayne, weighing his options, but there’s no turning back.

BILL (quietly) I’m not like my father. I don’t fold.

Bill storms out, leaving Wayne unfazed but secretly threatened.

Scene: Wayne Sends a Spy to Watch Bill (Street) – Day EXT. CITY STREET – DAY

Bill is walking down the street, his thoughts racing after his confrontation with Wayne. Unbeknownst to him, a mysterious figure watches him from across the street.

The figure, sent by Wayne, follows Bill discreetly, making sure to keep his distance. Wayne is keeping tabs on Bill’s every move, preparing for the next step in their battle.

Scene: Wayne Tries to Buy Bill’s Silence (Alleyway) – Night EXT. ALLEYWAY – NIGHT

Wayne’s men corner Bill in a dimly lit alleyway. Wayne steps out of a sleek black car, approaching Bill with a self-satisfied smirk.

WAYNE (sternly) I told you this wouldn’t end well for you, Bill. But I’m a reasonable man. Here’s one last offer: take this money and walk away. Or the next time, my guys won’t be so nice.

Wayne holds out a briefcase filled with cash. Bill stares at it, the temptation clear, but he shakes his head.

BILL I’m not for sale.

Wayne’s smile fades as his men step closer to Bill, but Bill stands his ground, refusing to back down.

WAYNE (gritting his teeth) You’re making a mistake.

BILL No, you are.

Wayne gestures to his men, and they leave, but the tension remains thick. The next encounter will be more violent.

Scene: Wayne Taunts Bill After the Attack (Hospital Room) – Day INT. HOSPITAL ROOM – DAY

Bill is lying in a hospital bed, bruised and battered from an earlier confrontation with Wayne’s men. Wayne enters the room with a smug grin.

WAYNE (sarcastically) You don’t look so good, Bill. I told you this would happen if you didn’t listen.

Bill struggles to sit up, anger burning in his eyes.

BILL You think this is going to stop me?

WAYNE (leaning closer) I think this is just the beginning. You want to keep playing hero? Fine. But next time, I won’t go easy on you.

Bill glares at Wayne, his determination unwavering.

BILL Next time, you won’t get the chance.

Wayne straightens up, amused by Bill’s defiance.

WAYNE We’ll see about that.

Wayne exits the room, leaving Bill more motivated than ever to take him down.

Scene: Wayne’s Downfall (Public Confrontation) – Day EXT. PUBLIC EVENT – DAY

Wayne is giving a speech at a public event, surrounded by media and business associates. Bill steps forward from the crowd, interrupting the event.

BILL (shouting) Wayne! It’s time you tell the truth!

The crowd turns toward Bill as Wayne tries to keep his composure.

WAYNE (annoyed) Security, get this man out of here.

But before security can reach him, Bill holds up the documents that prove Wayne’s betrayal of his father.

BILL These papers show exactly what you did to my father! You used him, destroyed his business, and built your empire on lies!

The media begins to swarm, cameras flashing. Wayne’s calm demeanor falters as he realizes the exposure could ruin him.

WAYNE (angrily) You think you can destroy me with this? I’ll make sure you never work in this city again!

BILL (shouting back) I don’t care about that. I care about the truth. And now, everyone knows what you really are.

The scene ends with Wayne looking panicked as the media closes in, signaling the beginning of his downfall.

Scene: Wayne’s Final Plea (Abandoned Warehouse) – Night EXT. ABANDONED WAREHOUSE – NIGHT

Bill corners Wayne at the abandoned warehouse where Wayne’s men previously tried to kill him. Wayne is visibly shaken, knowing his time is up.

WAYNE (desperately) It doesn’t have to end like this, Bill. We can still make a deal. I’ll give you whatever you want—money, power—just walk away.

Bill shakes his head, calm and resolute.

BILL It’s too late for that, Wayne. This is over.

WAYNE (snarling) You’re just like your father. Weak.

Bill steps forward, his fire immunity giving him the upper hand.

BILL No. I’m stronger than he ever was. And you’re going to pay for what you did.

Wayne backs away, realizing he has no way out. The final showdown begins.

////////////////

cene: Wayne Confronts Bill at His Job (Truck Depot) – Day EXT. TRUCK DEPOT – DAY

Bill is loading boxes into his truck when a black luxury car pulls up. Wayne steps out, dressed impeccably, and walks toward Bill with an air of superiority.

WAYNE (smiling smugly) Still driving trucks, Bill? Seems fitting.

Bill glares at him, slamming the truck door shut.

BILL What do you want, Wayne?

WAYNE (toying with him) I wanted to see how far you’ve fallen since our little disagreement. Thought maybe you’d take my offer by now.

Bill crosses his arms, refusing to be intimidated.

BILL I don’t need your money. What I need is for you to admit what you did to my father.

WAYNE (laughs coldly) You’re really holding onto that, huh? Your father made his own choices, Bill. He was weak, and weakness doesn’t survive in this city.

BILL (stepping closer) He trusted you. And you used him.

Wayne's smile fades as Bill steps even closer, the tension building.

WAYNE (smirking) You’re going to regret this, Bill. You could’ve had it all.

Wayne walks away, but the threat in his voice is clear. Bill watches him leave, more determined than ever.

Scene: Wayne Threatens Bill’s Family (Phone Call) – Night INT. BILL’S APARTMENT – NIGHT

Bill is sitting on the edge of his bed, going over his father’s business papers when his phone rings. He picks it up, and Wayne’s voice is on the other end.

WAYNE (casually) You’re getting too close, Bill.

BILL (gritting his teeth) I’m not backing down, Wayne.

WAYNE (sighing) You really are your father’s son. You know, he didn’t listen to me either, and look where that got him.

Bill’s fists clench, anger rising.

WAYNE (continuing) I wouldn’t want your mother to get involved in this… she’s been through enough, don’t you think?

Bill freezes, his face turning pale.

BILL (furious) Leave my family out of this!

WAYNE (laughing softly) That’s up to you. Walk away, and they’ll be fine. Keep pushing, and I won’t be so gentle.

Bill slams the phone down, his rage boiling over as the stakes become more personal.

Scene: Bill Confronts Wayne at a Charity Event (Ballroom) – Night INT. GRAND BALLROOM – NIGHT

Wayne is attending a high-profile charity event, mingling with wealthy donors and business elites. Bill storms into the ballroom, eyes locked on Wayne.

BILL (angrily) We need to talk.

The crowd goes quiet as Bill approaches Wayne, causing heads to turn. Wayne quickly puts on a charming smile for the onlookers.

WAYNE (faking concern) Bill, I didn’t expect to see you here. Can this wait? We’re in the middle of something important.

BILL (not backing down) This won’t wait. You can’t hide behind your money and fancy events forever.

The tension is palpable as the guests murmur in confusion, but Wayne remains calm, his voice low and threatening.

WAYNE (quietly) You’re making a scene. This is not the place.

Bill leans in, his voice shaking with rage.

BILL (adamant) I’m not letting you get away with this. I know what you did to my father. I’ll expose you, no matter how long it takes.

WAYNE (smiling icily) You won’t get the chance.

Security starts to move in, and Bill is forced to leave. But the confrontation has shaken Wayne’s public image, as the whispers among the crowd grow louder.

Scene: Bill Finds Evidence of Wayne’s Illegal Deals (Office) – Day INT. BILL’S APARTMENT – DAY

Bill is going through his father’s old business papers again when he stumbles across an overlooked document—one that details a secret deal Wayne made, implicating him in illegal business activities.

BILL (muttering) This is it… this is what I need.

Bill realizes this evidence could be the key to bringing Wayne down. The stakes are raised as Bill now has something concrete, but getting it into the right hands will be dangerous.

Scene: Wayne Faces Public Exposure (Press Conference) – Day EXT. PRESS CONFERENCE – DAY

Bill has anonymously leaked the documents to a local journalist. Wayne stands at a press conference, surrounded by reporters.

REPORTER 1 (shouting) Mr. Wayne, what do you have to say about these allegations?

REPORTER 2 Were you involved in illegal business practices that led to your partner’s downfall?

Wayne tries to maintain his composure, but sweat beads on his forehead.

WAYNE (stammering) These accusations are baseless. I’ve done nothing wrong.

Bill watches from the sidelines, knowing Wayne’s public image is unraveling. The pressure mounts as Wayne realizes the world is closing in on him.

Scene: Wayne Tries to Flee the City (Airport) – Day EXT. PRIVATE AIRPORT – DAY

Wayne, realizing his empire is crumbling, makes a desperate attempt to flee the city. He rushes toward a private jet, but Bill arrives just in time, blocking his path.

BILL You really thought you could just run away?

Wayne glares at Bill, his calm facade completely shattered.

WAYNE (snarling) Get out of my way, Bill. You don’t know what you’re doing.

BILL I know exactly what I’m doing. You’re going to pay for everything.

Wayne hesitates, realizing there’s no escape. The tension between them reaches its peak as Bill steps closer, ready to finish what his father started.

Scene: Wayne’s Final Plea (Rooftop Showdown) – Day EXT. ROOFTOP – DAY

Bill and Wayne face each other on a rooftop, the city skyline looming in the background. Wayne, now desperate and cornered, tries one last time to negotiate.

WAYNE (panicking) Bill, listen to me. We can still work this out. You don’t have to destroy everything.

Bill stands tall, his determination unwavering.

BILL (angrily) You destroyed everything. Now it’s your turn.

WAYNE (coldly) You’re just like your father—weak. But I’m not going down because of you.

Wayne charges at Bill, but Bill is ready. With his newfound strength and fire immunity, Bill easily overpowers Wayne, pinning him down.

BILL You’re done, Wayne.

Wayne, finally defeated, looks up at Bill, broken.

WAYNE (whispers) It didn’t have to end like this.

Bill stands over him, resolute.

BILL But it did.

The scene ends with Bill walking away as Wayne is left to face the consequences of his actions.

[vatt-world]

h

EXT. NYC SUBWAY – DAY – SCENE 2

Anita waits at the crowded subway platform, her headphones in, scrolling through her phone. The distant sound of an approaching train grows louder. She glances up as the subway rushes in, slowing to a stop.

Anita squeezes into the packed car, leaning against the door as the train rattles along the tracks. The camera follows her, zoning out to the rhythmic hum of the train. She stares out the window, watching the stations blur by, her thoughts elsewhere.

EXT. BROOKLYN BRIDGE PARK – AFTERNOON – SCENE 3

Anita sets up her camera near the waterfront, framing the Manhattan skyline as her backdrop. She steps into view, her usual bright demeanor lighting up the screen.

ANITA (to camera) Hey, guys! Today, I want to talk about finding your own path in a city that never stops moving.

Anita pulls a photo from her pocket—her younger self with family in a small town. She lingers on the photo, her grip tightening slightly.

ANITA This was me before New York. Small town, big dreams. And yeah, the city can beat you up sometimes, but that’s when you find out what you’re really made of.

INT. ANITA’S APARTMENT – DAY – SCENE 4

Anita lounges on her couch, speaking on the phone to a friend.

EXT. BROOKLYN BRIDGE – DAY – SCENE 5

Anita vlogs as she walks along the iconic Brooklyn Bridge, highlighting the scenery around her.

ANITA (to camera) Hey everyone! The view is stunning! It’s a perfect spot for a picturesque stroll.

She grabs a slice of pizza from a nearby vendor.

ANITA And you can’t visit without grabbing a snack! Let’s check out the nearby pizza place.

EXT. NYC RESTAURANT – NIGHT – SCENE 8

Anita and Nick stand outside a trendy restaurant. The line stretches down the block, and the host shakes his head apologetically.

HOST I’m sorry, but we’re fully booked for the night.

NICK (disappointed) Fully booked?

ANITA (sighing) I knew we should’ve made a reservation.

Nick looks around, an idea forming.

NICK You know what? Forget it. How about we cook instead?

ANITA (smirking) Let’s grab something from the deli.

INT. NICK'S APARTMENT – NIGHT – SCENE 9

Nick’s kitchen is small but cozy. Anita rummages through the fridge.

ANITA Looks like we’re making omelets—eggs, cheese, and some veggies. Chef Anita at your service.

Nick grabs a knife, pretending to roll up his sleeves.

NICK I’ll chop the veggies. Watch me not lose a finger.

ANITA (laughing) It’s called skill. You’ll get there.

EXT. BROOKLYN PROMENADE – PHOTO SPOT – SCENE 11

Anita and Nick stop to take photos with the skyline as a backdrop.

ANITA Give me your best ‘brooding actor’ look.

Nick strikes a dramatic pose.

NICK Mysterious enough?

ANITA (laughing) Close enough.

She hands him the camera.

NICK Your turn. Show me ‘adventurous vlogger’ vibes. Let’s see it.

EXT. BROOKLYN PROMENADE – DAY – SCENE 12

Anita pulls out her phone and plays music.

ANITA C’mon, let’s dance. Perfect spot.

NICK (hesitant) Dance? Here? In front of everyone?

ANITA Why not? It’s New York—no one cares.

They begin dancing awkwardly before letting loose, salsa steps mixed in. Their laughter echoes over the city sounds.

NICK You’re really good at this whole ‘living in the moment’ thing.

ANITA Life’s too short not to dance.

A street performer notices, and the crowd claps as they end with a flourish.

INT. KARAOKE BAR – NIGHT – SCENE 15

Nick scrolls through the karaoke song list and grins at Anita.

NICK Ready for this? You’re about to witness something epic.

ANITA (grinning) Oh no, what have you done?

Nick bursts into a dramatic, over-the-top performance, much to Anita’s amusement.

ANITA (laughing) You are something else!

EXT. PARK – DAY – SCENE 18

Anita and Nick sit on a park bench, playfully debating detective shows versus superhero shows.

NICK (channelling Jake Peralta) How dare you disrespect Die Hard? It’s the pinnacle of detective movies—no, all media.

EXT. NYC PROMENADE – SUNSET – SCENE 24

Anita and Nick sit quietly on a bench, watching the sun dip below the skyline.

ANITA I’ve always loved this time of day. Feels like the city slows down for just a second.

NICK Yeah, like it’s catching its breath before the chaos starts again.

They sit in peaceful silence.

EXT. BUSY CITY STREETS – DAY

Anita and Nick weave through bustling crowds, tossing ideas back and forth.

ANITA (excited) We could recreate iconic movie scenes across the city for the vlog! How fun would that be?

Nick, distracted and frustrated, snaps.

NICK (sarcastic) Fun. But maybe we should stop pretending life is a movie scene and show something real. People want authenticity, not re-enactments.

Anita slows, sensing the tension.

ANITA (softly) What’s wrong? You’ve been off since the audition.

NICK (sighing) That audition was a joke. And now, I feel like I’m just tagging along in your vlog.

ANITA (surprised) What? This is our project, Nick. We’re doing it together.

NICK No, it’s your thing. I’m just here filling space.

ANITA That’s not fair. I’ve always asked for your input. You’re not just ‘filling space.’

NICK (angry) Every idea I bring up gets sidelined! I need something for myself, Anita. I’m done being in the background.

EXT. NYC PROMENADE – DAY – SCENE 26

Anita and Nick meet at their usual spot.

NICK What are you thinking?

ANITA I’m scared—scared of leaving, of staying, of failing. But I’m more scared of not trying.

NICK Whatever you decide… I’m here. Even if it’s a video call from Europe.

They sit in comfortable silence before Anita pulls out her camera.

ANITA One last shot before the next big adventure.

They angle the camera towards themselves, the skyline in the background. They smile, a mix of excitement and bittersweetness.

NICK Let’s make it a good one.

FADE OUT.

[laraaevans]

EXT - THE FIRELIGHT BASE - DAY

Ekko returns to the Firelight base with a small platoon of scouts and members of the search and rescue team. Everyone disperses to separate parts of the base.

Ekko removes his mask and pulls down his hood, resting his hoverboard up against the trunk of the tree.

Scar approaches him from behind.

Scar: “Ekko? Could I have a minute? There’s something I want to talk to you about. I didn’t want to be the one to bring this up but some of the Firelights have noticed a change in your behaviour. Ever since you brought Jinx back to the base you’ve been drifting away from us. I just wanted to check in on you. See how you’re doing. Is everything okay?”

Ekko can’t bring himself to face Scar. It was only a matter of time before people started to notice the change. Ekko laughs gently and sighs in defeat.

Ekko: “Do you want the honest truth, Scar? No, I’m not okay. There’s a lot on my mind right now. We have Piltover’s most wanted criminal in custody and war is on the horizon. It’s only a matter of time before enforcers are sent out into the lanes. We need to prepare for the worst. Day and night I lay awake, thinking about what’s going to happen next. I can’t predict the future, so naturally I am very stressed out!”

Scar: “Ekko, slow down. You’re rambling. Take a deep breath.”

Ekko closes his eyes, exhausted.

Ekko: “I’m sorry.”

Scar: “Don’t apologize. I understand.”

Ekko: “But do you though? Do you understand what’s at stake here? Everyone is at risk, Scar. I don’t want to throw the Firelights into danger, but at the same time I want to keep helping the citizens. Zaun will be in peril. There are so many decisions to make. I don’t know if I’m ready for all of that.”

Scar: “You don’t have to be. Ekko, if you need help you can always ask for it. Take some time off and relax for a bit. I can step in for you. You named me deputy when you were sixteen. I’ll happily oversee the base.”

Scar looks up at Ekko’s bedroom window, high within the branches of the tree.

Scar: “Why don’t you go and have a chat with your old friend?”

Ekko blushes furiously. He and Jinx are not friends anymore. He doesn’t know if they can ever be friends again.

Ekko: “She’s not my friend! How could you say that? Scar, Jinx killed Eve! She’s killed so many innocent people! She’s… she’s…”

A monster. Ekko can’t bring himself to say the words. Angry tears threaten to fall from his eyes. Ekko doesn’t believe that Jinx is a monster. He is lying to himself to protect his heart.

Ekko lowers his head in defeat, silently crying.

Scar: “You would’ve left her to die if you didn’t care about her, Ekko. I don’t know all the details but Jinx means something to you. I can see that. And you can lie to yourself all you want. It won’t change anything.”

Ekko: “Ugh! Damn it!”

Scar: “Go, Ekko. Something tells me that Jinx needs you as much as you need her.”

Ekko: “Never speak of this to anyone.”

Scar: “I won’t. You have my word.”

Ekko takes a deep breath and heads up the winding stairs to his bedroom.

INT - EKKO’S ROOM - DAY

Ekko enters his room to see Jinx sitting cross legged on the floor. Jinx’s eyes widen as he takes off his jacket and hangs it up on a small hook.

Jinx: “Ekko, you’re back. God, what took you so long? Do you know how long it’s been? I have been sitting here on my ass for two hours! Nothing to do! No one to talk to!”

Ekko offers her the ghost of a smile. He looks down to see the empty bowl of salad beside her and the empty cup of water. Ekko feels relieved knowing that she’s eaten.

Ekko: “I was out patrolling the lanes.”

Jinx: “Wow! That’s fun! I would’ve loved to join you!”

Ekko: “Why? So that you could murder innocent civilians in cold blood?”

Jinx: “No.”

Ekko shoots Jinx an angry look.

Ekko: “It’s good to see that you’re back to your normal self.”

Jinx: “I could say the same to you, boy saviour.”

Ekko rolls his eyes. He hates the nickname. He takes the bowl and the cup.

Ekko: “I’m glad that you’ve eaten. I hope you liked the salad. I prepared it for you myself.”

Jinx: “You did that for me? How sweet.”

Ekko: “Enough with the sarcasm. You should be grateful that I’m feeding you. If I were anyone else I would’ve let you starve to death. But I’m not that heartless.”

Jinx: “You seemed pretty heartless when you attacked me on the bridge.”

Ekko freezes.

Ekko: “I wonder why that is.”

Jinx’s stomach drops at Ekko’s words. She feels regret.

Jinx: “It’s always my fault, isn’t it? I’m Piltover’s most wanted! I’ve killed too many Firelights to count! I’m Silco’s fucking prodigy! He might be dead but I’m still here! I’m here, Ekko! You have an opportunity to kill me right now! Why are you holding back?”

Ekko: “Do you really want me to say it?”

Jinx: “Yes, I do!”

Ekko storms up to Jinx and looks deep into her eyes. It’s not the same. He’ll never see Powder’s grey eyes again.

Ekko: “Because I don’t want to. No, it’s not that. It’s because I can’t. I can’t kill you. Before you pulled that fucking bomb on yourself I caught a glimpse of my old best friend for the very last time! It broke my heart! Seeing you afraid! Seeing you smile at me! God forbid that I call you by your old name, but Powder, I thought you were gone for good.”

Jinx inhales sharply, heat spreading across her cheeks.

Jinx: “She is gone! Look at me! Do you see any trace of Powder? My eyes are fucking pink, Ekko! Powder’s not coming back! My name is Jinx!”

Ekko: “I know!”

Jinx recoils seeing tears streaming down Ekko’s face.

Ekko: “You might be alive, but somehow I still managed to lose you.”

Jinx: “You might a be a hero in the eyes of the Firelights, but you will never be a hero to me.”

Ekko: “I just wanted you to be happy! That’s all I ever wanted! I was in love with you! I don’t know if you ever knew that but it’s true! Why do you think I fought so hard to bring you back here when we were kids?”

Jinx gasps, utterly speechless. There’s no way. Ekko is lying. He doesn’t love her! He tried to kill her!

Jinx: “What? No. You don’t mean that. You’re lying! That’s all you ever do! Everyone lies to me!”

Ekko: “The only person who has ever lied to you is Silco. Jinx, I would never lie to you about my feelings. Even my old ones.”

Jinx’s heart shatters at his words. He doesn’t love her anymore. What changed? Jinx already knows the answer and it brings her to tears.

Jinx: “You were in love with me? Why?”

Ekko: “There are so many reasons.”

Ekko wipes away Jinx’s tears.

Jinx: “Tell me.”

Ekko: “Are you sure?”

Jinx nods with certainty.

Jinx: “Yes, Ekko. Tell me. I need to hear it from you.”

Ekko wipes away his tears and hesitantly wraps his arms around Jinx’s torso. Jinx buries her face in the crook of his neck, returning the embrace. Ekko can’t help himself. He presses kisses into Jinx’s neck.

Jinx gasps and closes her eyes, letting Ekko handle her the way he wants. Her head is spinning and it feels like she’s flying.

Jinx: “Ekko, tell me.”

Ekko: “I will. Just give me a minute.”

[neomansubs2024]

Title: Hikonin Sentai AkibaRanger: 10 Delusional Years

INT. AKIBA BASE - DAY

A small, cluttered room serves as the secret base for the AKIBARANGERS - a team of self-proclaimed "unofficial" superheroes who protect Akihabara, the otaku mecca of Japan. The room is filled with anime posters, action figures, and cosplay costumes.

NOBLE RED (late 20s) - the passionate and slightly delusional leader.

NOBLE RED

Fellow AkibaRangers, it's been 10 years since we first donned our spandex suits to protect the sacred land of Akihabara. Our dreams of becoming official Sentai heroes may not have come true, but our spirit remains unyielding!

The team, consisting of LUNATIC YELLOW, GENTLE BLUE, and MIGHTY PINK, gathers around NOBLE RED, ready for their next adventure.

LUNATIC YELLOW (early 30s) - the energetic and eccentric member.

LUNATIC YELLOW

Ten years of delusional heroism! We may not be recognized by the official Sentai, but our passion burns brighter than any pyrotechnics!

GENTLE BLUE (late 20s) - the calm and level-headed member.

GENTLE BLUE

Indeed, our dedication to protecting this city and its otaku culture is what sets us apart. Let's keep fighting for our beloved Akihabara!

MIGHTY PINK (mid-20s) - the enthusiastic and determined member.

MIGHTY PINK

I may just be a fangirl turned superhero, but I won't let that stop me from giving it my all! Let's show the world what the AkibaRangers are capable of!

INT. AKIHABARA STREETS - DAY

The AkibaRangers patrol the streets of Akihabara, interacting with fellow otaku and helping those in need. They fight off minor villains with their quirky and improvised weapons.

INT. AKIBA BASE - NIGHT

The AkibaRangers gather in their base, exhausted but satisfied with their efforts.

NOBLE RED

Ten years of adventures, battles, and delusions. We may not have giant robots or flashy explosions, but we have each other and the love of this city.

A mysterious figure appears on the screen in the base, introducing themselves as LORD DELUSION - a powerful villain who feeds on the dreams and delusions of others.

LORD DELUSION

AkibaRangers, your delusions may have sustained you for a decade, but now I shall feast on them and bring chaos to your beloved Akihabara!

The AkibaRangers gear up, determined to protect their city once again.

INT. FINAL BATTLE - AKIHABARA SQUARE - NIGHT

The AkibaRangers face off against LORD DELUSION, who manifests their deepest fears and doubts.

Despite the odds, the AkibaRangers rely on their unwavering bond and passion for their cause. They combine their unique abilities and fight back, channeling their delusions into strength.

After a fierce battle, the AkibaRangers defeat LORD DELUSION, saving Akihabara from chaos.

EXT. AKIHABARA SQUARE - DAY

The citizens of Akihabara gather to express their gratitude to the AkibaRangers. They cheer and applaud, recognizing the dedication and heart of their unsung heroes.

NOBLE RED

Ten years of delusional heroism, and we're still here! We may not be official, but we are the true defenders of Akihabara!

The AkibaRangers strike a pose, basking in the adoration of their fans and the satisfaction of a job well done.

FADE OUT.

[foxglove-official]

SE1E2 "Aorta"

SCENE 1

EXT. DOCKS. FX. WAVES CRASHING, WIND WHIPPING, GUNFIRE, SCREAMS, SHOUTING.

NEW KID: (shrieking) I didn't sign up for this! 

FX. SLASHING, STABBING, SPLASHING, MORE GUNFIRE.

NEW KID: (V/O) Yes, I signed the contract, but a guy’s gotta eat, and the roles and responsibilities didn't include becoming target practice! That’s gotta count as fraudulent misrepresentation, right? 

FX. STAGGERING BACK, SLIPPING, FALLING BACK ONTO BUTT, SCRAMBLING, BLOOD BEING FLICKED OFF A BLADE.

RED HOOD: ‘Sup, small fry? 

NEW KID: (V/O) Are my pants soaked because I fell in a puddle or is it just my piss? 

RED HOOD: Don’t sweat it, I ain't gonna hurt you. 

NEW KID: (defeatedly) I find that hard to believe, given all the bodies you’ve dropped. 

RED HOOD: That’s the plus side to decapitation. Relatively painless, and I'd argue too merciful of a fate for scum like you. 

NEW KID: Thanks, I suppose. 

RED HOOD: You are most welcome.

FX. KNIFE HITTING HELMET.

RED HOOD: Who threw….You.

HULI: Told you I’d only borrow it. 

FX. LOADING GUN.

RED HOOD: And I told you I’d bag you – Where are you going? 

HULI: (Off) Not in a bag! 

FX. GUNFIRE, DOGS BARKING, SPRINTING, SKIDDING.

RED HOOD: You aren't even going to fight? 

FX. RELOADING.

HULI: And not only lose, but lose my head? 

FX. TIPPING OVER TRASH CAN.

RED HOOD: Points for self-awareness.

FX. KICKING ASIDE TRASH CAN. 

FX. GUNFIRE, DOGS BARKING, SPRINTING, SKIDDING.

HULI: (out of breath) Don't I get any points for not cutting your throat when I had the chance? 

KNOCKING OVER CRATES.

RED HOOD: (catching breath) Any points you got for that were canceled out when you threw my own knife at me.

FX. RELOADING. 

HULI: You’re wearing a helmet, aren't you? 

FX. DOGS BARKING, DISTANT SIRENS.

RED HOOD: Why?

HULI: Why what? 

RED HOOD: Why do you only steal from me? Why not cut my throat when you had the chance? 

HULI: I have a ploy. You're an important part of it. 

RED HOOD: I want no part of a partnership with an organ thief. 

HULI: I may steal hearts, Hero Complex, but you steal lives. You tell me which thief is worse. 

RED HOOD: I’m no hero. I’m here to do what’s necessary, and if that means committing a few necessary evils, then so be it. 

HULI: Control crime through fear and intimidation, and cut down the ones who aren't afraid. Effective and efficient. But only for the short-term. When you die, the control dies with you. The crime comes back to life. 

RED HOOD: (dryly) Been there, done that. 

HULI: (dryly) Happy rebirthday. 

RED HOOD: You think I’m crazy. 

HULI: I think I can be the method to your madness. Why spend all your time and money taking down these mobs from the outside, when you could conquer them from the inside out with their own resources, and then use the resources that remain…

RED HOOD: …To get to Joker.

FX. PHONE RINGING

HULI: You’ll have to excuse me.

RED HOOD: You are not excused –

FX. PICKING UP PHONE.

HULI: Evening, Negroni. (pause) Yes, I have the delivery, and you’ll have it by nine. (pause) Yes, nine o’clock sharp. (pause) Yes, I am well aware of who you are, how sharp your knife is, and how it's sharp enough to skin me. 

FX. HANGING UP.

RED HOOD: Negroni? 

HULI: Means ‘black’ in Italian.

RED HOOD: The fox mask…it’s from the False Face Society, isn't it?

HULI: I can get your foot in the door. You have until tomorrow to determine whether you’re willing to sacrifice a few toes.

SCENE 2

FX. SUBWAY RUNNING ACROSS RAILS.

INT. FALSE FACE SOCIETY HEADQUARTERS, TOP FLOOR. FX. ELEVATOR BELL, DOORS OPENING.

BLACK MASK: Took you long enough, volpe. 

HULI: Thank you for your patience. 

FX. PLACING PLASTIC BOX ON TABLE. 

BLACK MASK: There’s your cut, all in cash. 

FX. PLACING BRIEFCASE ON TABLE.

HULI: This is five hundred thousand dollars. 

FX. FLIPPING THROUGH CASH.

BLACK MASK: Bravo, you can count. 

HULI: I count a hundred thousand dollars extra. 

BLACK MASK: I tacked on a tad for taking the Hood off the new kid’s trail. 

HULI: There’s another new kid? 

BLACK MASK: Not for long. 

FX. DOORS FLYING OPEN, SHOES SCUFFLING AGAINST FLOOR.

NEW KID: Give me a goddamn break!

LI: You’re not going to lay him off, are you?

BLACK MASK: No, I’m gonna lay him to rest. 

FX. UNSHEATHING KNIFE.

NEW KID: What did I even do?

LI: For what crime?

BLACK MASK: In the False Face Society, we live by a code of honor. Vendetta and omertà. Vendetta means you kill anyone who crosses La Famiglia. Omertà means you come crying to me, not the cops, when you have a grudge against another member. 

NEW KID: You gotta have me mixed up with someone else, sir. I didn’t do any of that –

FX. PUNCH.

BLACK MASK: (suddenly shouting) My million dollar kitsune nearly lost her head because of you, that’s what!

LI: Huli Jing. 

BLACK MASK: Huh?

LI: Kitsunes are Japanese, she’s Chinese. She’s a Huli Jing. 

HULI: Or I could be Japanese, Korean, or Vietnamese, playing the part of Chinese to throw the cops off my trail. 

BLACK MASK: Whatever kind of fox you are, you made me a million dollars, and this cafone almost cost me it! And we’re all well aware of what that’s going to cost him…

FX. SHARPENING KNIFE.

LI: (flatly) His face? 

NEW KID: No!

BLACK MASK: No, I’m gonna cut off his fingers – Of course, it’s gonna cost him his face, it’s called the False Face Society. Congratulations, consigliere, you can pick up on context clues!

HULI: (suddenly shouting) Leave her alone, loose cannon! You’re the Black Mask, the Crime King! 

HULI/CHARLES SIONIS: Why are you acting like a toddler who’s throwing a tantrum…

CHARLES SIONIS: (yelling) After all I’ve built for you, and you’re gonna give it up for some middle-class mongrel! 

YOUNG ROMAN: (yelling) She’s not a mongrel, she’s my fiance!

CHARLES SIONIS Suit yourself, you schmuck. I’m glad! I’m glad I won’t have to sully the Sionis legacy with whatever reckless, rabid boy that replaced my son! You’d be bad for business, anyway!

YOUNG ROMAN: Some father you are!

FX. TABLE TURNING OVER, STARTLED SHOUTS.

BLACK MASK: (seething) You’re lucky Lynns put in a good word for you, or those would've been your last words. You may be my million dollar kitsune, but you have no authority, and you are in no position to agonize over my anger issues. 

HULI: (strangled) Not anger issues, intermittent explosive disorder. It’s not your anger that agonizes me, it’s the way you waste your wrath on the wrong people. Worst of all, it’s a bad business model. 

BLACK MASK: What’s intermittent explosive disorder?

CHARLES SIONIS: (Off) Rabid, reckless!

HULI: Repeated sudden bouts of impulsive, aggressive, violent behavior or angry verbal outbursts. Caused by being conceived in an environment where explosive behavior, and verbal and physical abuse were common. 

CHARLES SIONIS: (Off) Bad for business, anyway!

BLACK MASK: (voice up) You said it’s a…bad business model. 

HULI: By all means, beat the hell out of anyone who crosses you, but you keep bludgeoning and brutalizing your own men, and they’ll come crying to your competitors. The rage that raised you up will take root in them, and soon, they’ll want to take you down more than they fear the consequences of crossing you. 

BLACK MASK: (voice down) They respect me for my rage. 

HULI: (sharply) Why do you doubt your ability to remain respected without your rage? Who wouldn’t respect you? You’re not a tantrum-throwing toddler. You’re the Black Mask, the Crime King, and you have your own family now. 

BLACK MASK: (strained) Li is my consigliere, not my companion.

HULI: I refer to Lynns.  

BLACK MASK: (sharply) Right, Lynns, the only reason I’m letting you live. 

FX. STEPPING BACK. 

HULI: You have a good night now, Negroni. 

BLACK MASK: Figlio di puttana. 

HULI: Say again?

BLACK MASK: That’s how you say ‘son of a bitch’ in Italian. 

HULI: You have a good night now, figlio di puttana. 

BLACK MASK: You, too.

SCENE 3

FX. SUBWAY RUNNING ACROSS RAILS.

INT. ICEBERG LOUNGE. FX. JAZZ BAND, PATRONS CHATTERING, GLASSES CLINKING, CASH DISPENSERS.

HULI: (hoarsely) Welcome back, Mr. Lawton. 

DEADSHOT: (defensively) Who told you my name?

HULI: Penguin wanted me to pass this paycheck onto you. 

DEADSHOT: Why isn’t he here? 

FX. OPENING ENVELOPE, FLIPPING THROUGH CASH. 

HULI: He’s coercing – I mean, negotiating with Alberto Falcone. He wants him to tell Carmine to get out of the weapons business. He also tells me you’re the best in the biz. The man who never misses. 

DEADSHOT: That sounds about right. They tell me you’re the best bartender in the business.

HULI: That sounds about right. Do you play darts, by any chance?

DEADSHOT: You’re playing dangerously if you think you can stand a chance against me. 

HULI: Contract killers. So competitive. 

DEADSHOT: And what are the terms of our contract?

HULI: If you can hit the bullseye twenty times in a row, you get a round of shots on the house. 

DEADSHOT: You’re on. One, two, three, four…

FX. DARTS HITTING TARGET.

HULI: Would that be a Baltic Porter, Mr. Buchinsky? 

DEADSHOT: (Off) Five, six, seven, eight…

ELECTROCUTIONER: I ain’t here to talk, I’m here to collect. I went through a lot of trouble throwing together that taser for ya. 

DEADSHOT: (Off) Nine, ten, eleven, twelve…

HULI: One thousand and five hundred dollars, comin’ right up. 

DEADSHOT: (Off) Thirteen, fourteen, fifteen, sixteen…

ELECTROCUTIONER: And, err, if you could throw in the Baltic Porter, too…

DEADSHOT: (Off) Seventeen, eighteen, nineteen…

HULI: On it. 

FX. POPPING CORK, POURING. 

DEADSHOT: There, twenty! Hit me with your best shot. 

HULI: How about a kamikaze? Two ounces of vodka. Three fourths of an ounce of orange liqueur. Three fourths of an ounce of freshly squeezed lime juice.

FX. SLIDING GLASS ACROSS BAR. 

DEADSHOT: Fire away. 

MUSIC: HEART-SHAPED BOX (Nirvana)

HULI: May I ask what kind of heat you’re packing in that shotgun?

FX. STRAINING LIQUID.

DEADSHOT: Titanium composite hollow point bullets. 

HULI: Coated?

ELECTROCUTIONER: What’s that coating your collar? 

DEADSHOT: Is that concealer?

HULI: Penguin’s all about appearances. 

ELECTROCUTIONER: What happened to your voice? Why do you sound like the stinkin’ Firefly?

HULI: Didn’t drink enough water. 

ELECTROCUITONER: Hah, you’re a helluva bartender, but you’re a lousy liar. 

FX. GUZZLING DOWN GLASS, GALUMPHING AWAY.

HULI: Have a good night, Mr. Buchinsky. And I’m alright, Mr. Lawton. 

DEADSHOT: I don’t buy it. 

HULI: I’m okay now. 

DEADSHOT: Bullshit. Your neck is bruised, isn’t it? 

HULI: (defensively) Occupational hazard. Not all the patrons are as polite as you. 

DEADSHOT: Damnit, doll, I usually charge fifteen thousand, but if you can’t afford it, just name your price, and they’ll never touch you again. 

FX. SETTING GLASS DOWN.

HULI: How much if I don’t want him cold, but I want him…cornered? 

DEADSHOT: Why would you want him cornered when you could have him cold? 

HULI: Why don't you come closer?

FX. INDISTINCT WHISPERING.

DEADSHOT: You want me to do what?

SCENE 4

FX. SUBWAY RUNNING ACROSS RAILS.

INT. LAUNDROMAT. FX. WASHING MACHINES, PHONE RINGING.

BLACK MASK: (DISTORT) Volpe. 

HULI: Figlio di puttana. 

BLACK MASK: First of all, don’t ever expose me in front of my other employees again. Second of all, I can have the new kid cover for you if you can’t come into work tomorrow. 

HULI: You bruised my neck, you didn’t break my hands. 

BLACK MASK: I still strangled you. 

HULI: It’s fine. 

BLACK MASK: It isn’t fine, you should’ve been frightened. Why weren’t you frightened? 

FX. ARKHAM ASYLUM INTERCOM.

HULI: (V/O) As a child, my father would make me wear a mask, too. 

BLACK MASK: (V/O) What kind of mask? 

HULI: One that simulated suffocation. I wasn’t frightened, not only because it wouldn’t be my first time being strangled, but because I feel like…

HULI/FIREFLY: …Like I’m being suffocated all the time. Smoke scarring and scalding my lungs with every breath I suck in. 

FX. FLAMES ROARING, MAN SCREAMING.

HULI: And the mask seemed to sear and sink into my skin. At first, I felt frightened by the sensation of this false face becoming my real face, but then I thought, faces of flesh can be false, too. 

BLACK MASK: That’s why I named it the False Face Society, because the truth is, we already live in a world filled with false faces. The false faces of my padre and madre, the false faces they forced on me. 

MRS. SIONIS: Do put on a smile, Roman. The Waynes are influential…friends. 

BLACK MASK: But no matter how well I played the part, now matter how much I tried to rid this rabidity and recklessness from myself, I’d never be enough, and it embarrassed me, and I’d embarrass them, and it exhausted me. 

CHARLES SIONIS: You’re worthless, Roman, worthless!

HULI: Your parents were never embarrassed of you, they were embarrassed of themselves, and they projected onto you to push down your potential. You never needed to be rid of this rabidity or recklessness, you just needed to redirect it. 

CHARLES SIONIS: Worthless, worthless –

HULI: Now you’re worth more than five hundred million dollars. 

MRS. SIONIS: Do put on a smile, Roman. Do put on a smile, Roman. Do put on a smile, Roman. Do put on a smile, Roman…

BLACK MASK: As Roman Sionis, I was weak, but as the Black Mask…there is no one stronger. 

HULI: That’s where you’re wrong. 

BLACK MASK: What the hell do you mean by that? 

HULI: Listen to me, loose cannon. The mask doesn’t destroy one identity while creating another of greater power, it uncovers the strength that has been suppressed within you all along, for too long. You were born with the Black Mask within you, but you can’t rise from the ashes if you don’t burn. 

BLACK MASK: (V/O) Yes, you…see. You see…me. 

FX. FLAMES FIZZLING OUT. 

FX. ARKHAM ASYLUM INTERCOM, WASHING MACHINE SINGING.

BLACK MASK: I want to see you. 

HULI: Is this about me defending the new kid? I had to let him leave me to fend off Red Hood by myself. 

BLACK MASK: I can’t tell if you're insane or just an imbecile. Why the hell would you do that? 

HULI: You’ll see soon enough. 

BLACK MASK: I want to see you tomorrow at five p.m. in the Iceberg Lounge, four hours before your shift. That’s an order, not an offer.

HULI: You may be the Crime King, but you don’t pay like one. 

BLACK MASK: Don’t get your panties in a twist, I’ll pay. 

HULI: Noted, Negroni. 

BLACK MASK: First of all, call me Roman. Second of all, you’re my million dollar kitsune, not Penguin’s. You work for me now. And only me. 

FX. HANGING UP.

SCENE 5

FX. SUBWAY RUNNING ACROSS RAILS.

INT. ARKHAM ASYLUM. FX. PATIENTS BANGING ON DOORS, HYSTERICAL LAUGHTER, MURMURING INANITIES, ORDERLIES RUNNING AROUND.

HARVEY DENT: Why won't you stop? Do you know how many people have died because of you? Because of us? 

TWO-FACE: You’re the one with the conscience, Harv. You wanna go on a guilt-trip? Be my guest, but leave me out of it. I’m gonna have fun tearing this town apart. 

HARVEY DENT: The town, huh? This isn't about Gotham. 

TWO-FACE: Oh, really, Dr. Freud? And what is it about? 

HARVEY DENT: You know damn well what it’s about, who it’s about, but you haven't got the courage to face him, so you're lashing out at a more convenient target –

TWO-FACE: Oh, but I did face him Dr. Jekyll. Over and over and over and over, I let him lash me. For us. For you and because of you.

KID: (Off) Miss Harley?

HARLEEN QUINZEL: (New York accent) Yes, hun?

FX. HEELS CLICKING.

KID: How did Mister Yin-Yang end up looking like…Yin and Yang?”

HARLEEN QUINZEL: Heh, Yin-Yang. That's clever, but that’s not actually how alters work.

KID: Al-ters? You mean masks? Or faces?

HARLEEN QUINZEL: They’re not two faces of one person. They’re two fully-formed people trapped in one body. You should be referring to him as Mister Yin and Mister Yang. In fact, you probably shouldn't even be around him because of Mister Yin. I’ve never seen a system that can switch so speedily. 

KID: I wanna talk to Mister Yang.

HARLEEN QUINZEL: I can't let you do that.

KID: I wanna see his coin. It looks cool.

HARLEEN QUINZEL: What if Mister Yin takes over?  

KID: But alters form when the patient wants to protect themselves, right? So, Mister Yin isn't a bad influence. He's just trying to do his job, too.

HARLEEN QUINZEL: By killing people –

TWO-FACE: Who deserved to be killed. Why don't you all quit yapping about my system, and worry about your own?

KID: Hi Mister Yang! And Mister Yin –

HARLEEN QUINZEL: No!

TWO-FACE: You've got guts, I’ll give you that. If this wall weren't between us, they’d be spilling out of you by now.

KID: I like your coin, is that how you decide?

TWO-FACE: Decide what?

KID: Whether they deserve it or not?”

HARVEY DENT: You’re sharper than you seem

KID: I’m all skin and bones, and bones aren't soft, are they?

TWO-FACE: Heh, you should join my gang.

FX. COIN FLIP.

KID: What’s a gang?

TWO-FACE: You don't need to know what it is. Just that it pays well. Feeds well. You won't be skin and bones anymore.

KID: How much will I have to pay?

TWO-FACE: How about we play a game of heads or tails? 

HARVEY DENT: Choose wisely. Very wisely.

HARLEEN QUINZEL: I think that’s enough talking for today – What…what did you do to…

FX. BODY SLUMPING TO FLOOR.

KID: Sorry about the sedative, Miss Harley. 

FX. PULLING OUT SYRINGE, UNCLIPPING CARD FROM LANYARD.

FX. SWIPING CARD, DOORS SLIDING APART.

HARVEY DENT: Kid, kid, look at me. Look at my face, you do not want this life. 

YOUNG HULI: What life is that? 

HARVEY DENT: Criminal. 

YOUNG HULI: Who am I to judge? Who are they to judge? Their conception of ‘criminal’ is our normal. If they grew up in our circumstances, then they would comprehend us, but our case isn't theirs. Now, the choice is yours.

FX. ALARMS BLARING.

HARVEY DENT: It’s never our choice. 

FX. COIN FLIP.

YOUNG HULI: Whaddya say, Half-Face?

HARVEY DENT: Heads. 

TWO-FACE: And that’s Two-Face to you. Don't tell me I’ll have to hold your hand. 

KID: No, but this seems like a good time for me to hand you this syringe.

FX. SECURITY SHOUTING AND SPRINTING IN.

HARVEY DENT: Don’t look. 

END OF EPISODE 2

[rejectedbad]

Rejected Bad: War with Nevada

The following is a rejected script from an early season of Breaking Bad.

INT. WHITE'S LIVING ROOM - DAY

WALTER WHITE, a chemistry teacher turned methamphetamine producer, sits on his couch, browsing through a Nevada news article on his laptop. His wife, SKYLER, enters the room and notices his frustration.

SKYLER: (Concerned) Walt, what's wrong?

Walter quickly looks up, his face filled with anger and determination.

WALTER: (angry) Skyler, you won't believe this nonsense! Nevada is considering banning the colour blue!

SKYLER: (surprised) What? Banning the colour blue? Why would they do that?

WALTER: (furious) Apparently, some self-proclaimed "colour therapist" believes that blue has a negative impact on our mental health. They want to remove it from everything - clothing, advertisements, even art!

SKYLER: (confused) But Walt, why does it bother you so much?

Walter clenches his fists, his face turning red.

WALTER: (enraged) Skyler, blue is our signature colour! Our meth, our empire, everything! If they ban it, they destroy our identity. We've worked too damn hard for this!

INT. WHITE'S GARAGE - DAY

With determination in his eyes, Walter gathers all the blue meth products, equipment, and supplies from shelves. His partner-in-crime, JESSE, enters, noticing Walter's furious actions.

JESSE: (astonished) Yo, Mr. White, what the hell are you doing?

WALTER: (gritting his teeth) Jesse, we won't let them take our blue from us! We built this empire, and we're not backing down!

Jesse braces himself, realising Walter's fury won't be easily extinguished.

JESSE: (confused) Mr. White, what're you thinking?

Walter picks up a box, filled with blue crystal meth, and slams it on the table, causing a loud bang.

WALTER: (forceful) We're going to war, Jesse. Nevada wants to take our identity away? Well, we'll show them the power of blue!

INT. MEETING ROOM - NEVADA STATE CAPITOL - DAY

Walter bursts into the meeting room, filled with lawmakers and activists, who all wear red ribbons, unaware of what is about to unfold.

Walter's presence immediately grabs everyone's attention.

WALTER: (booming, filled with rage) You all think banning the colour blue will solve something? Well, I have a message for you - you messed with the wrong man!

The room fills with whispers and shocked looks.

EXT. PARKING LOT - DAY

News reporters surround Walter as he exits the Capitol building while covered in blood and viscera. He raises his voice, demanding attention.

WALTER: (shouting) To all those who think they can take away our blue, let them know that Heisenberg doesn't play games! This is a declaration of war, Nevada!

INT. WHITE'S LIVING ROOM - NIGHT

Walter paces back and forth, Skyler watching him closely.

SKYLER: (Worried) Walt, what are we going to do? A war with Nevada would be catastrophic!

Walter stops, looking determined yet resolute.

WALTER: (firmly) Skyler, we don't have a choice. If we lose our blue, we lose everything. We'll fight tooth and nail to protect our empire!

FADE OUT

[rosaesys]

⚘  ROSACEAE / ROSAE ⚘

private system blog. no collective name, she/he, 21 bodily. don't follow / like / rb from us unless friends. you WILL be blocked. managed by rui !! :3

FREQUENT FRONTERS ⊱ ✧

🌷 - she/he/star, host, blog

🥀 - he/she/it, co host/organizer, blog

☁️ - they/he, organizer/soother/regulator

🃏 - he/any, masker/protector, blog

🌟 - none/any, masker/socializer, blog

🪽 - it/doll, trauma holder

🐶 - he, emotion holder/protector

🧸 - they/it, trauma holder

🎶 - she, emotion/symptom holder, blog

✞ - he/she, persecutor

💿 - any/mirror, ext self helper/trauma holder

ACTIVE ⊱ ✧

🌙 - it/he/voi, persecutor

💋 - she/love, protector/uplifter

💌 - she/they, caretaker/ext self helper

🍵 - she, int self helper/gatekeeper

🔥 - he, protector/gatekeeper

✨ - she/sea, little/trauma holder

🍰 - she, little/trauma holder

🍷 - she/he, protector/trauma holder

🗝 - he, protector/gatekeeper

🎀 - she, trauma/symptom holder

🐾 - she/they, soother

🐺 - he/it, stabilizer/caretaker/protector

⚜ - any, caretaker/ext self helper

🍂 - they/she, persecutor

🚬 - he, persecutor/trauma/symptom holder

🪞 - they/any, memory manager/persecutor

INACTIVE / DORMANT ⊱ ✧

❄️ - they, protector/trauma holder

🌈 - nyan, persecutor

🖤 - he, no role

🎐 - she/it, little

🗡️ - he/they, protector

🌼 - she, comforter/uplifter

☀️ - he, comforter/uplifter

divider cred