#Soc script

[she-posts-nerdy-stuff]

I also might repost from the start and actually break it down into scenes rather than just pieces if that makes it easier for everyone? And then I could make a master post with like to episodes and scenes so it’s easier to navigate. It’s broken down into scenes on my doc but I didn’t really organise it before I started posting because it was a bit spur of the moment haha

[torvagatai]

I really do think this is the beginning of the end of Netflix book adaptations. What author is going to sign with Netflix over any of its competitors, knowing that they'll likely be cancelled early without closure? Or, even worse, that their story will be scripted but never made and the rights never sold on? Far better to accept a lower deal from a smaller streamer, but earn more publicity through more seasons and know that your story will be treated properly and see the light of day.

[littleblackraincloudofcourse]

Fuck you Netflix. They deserve so much better.

[phantomantz]

Fuck it I will make the spinoff myself

[emmikoochaitea]

guys I’m fine..

[tankgotstuckinthecircusgate]

fr sorry for not replying to your posts n texts right away i think in two languages at the same time and forget both as a result

[wafflesandkruge]

It’s crazy how everyone was still so optimistic after s1 even with the plot changes and then the writers decided to be quirky and piss everybody off because they never read the damn books and actually understand them other than maybe going over the plot points to see what they could steal because they can’t come up with their own IP? oh and how to make their own self-insert I guess. let’s do the south asian women, two of the canon’s best characters, dirty while we’re at it. all the while being like please stream the show like zombies so we don’t get fired 😊

Oh fr 😭😭😭 the actors are out here doing their best but they can’t salvage the script bc it makes no sense

They’re treating alina like the 2010s ya fantasy female protagonist she’s supposed to be the antithesis of and as a side effect, everyone else’s arcs get axed

[jamieisnotrich]

The writers of this show really said “the chances of getting a six of crows show are slim so let’s just squeeze everything we can into one season and ignore shadow and bone” and I love them for that

[vadapega]

These rotating food gifs came in handy for SRB2's 2022 April Fools update, the entire thing was done through SOC coding.

what the fuck is this genre of gif called. i had a collection of these kinds of images and i lost them all these are only ones i can find.

[snailpdf]

my desire to impulsively post fic is being curbed by the fact that my laptop runs like shit lmao

[kanejgirl]

goodbye shadow and bone you were terrible and dumb while you lasted </3

[chaosandwolves]

They've not only had the SoC script, they even had one for Demon in the Wood

How do you plan on two spinoffs and cancel everything???

I'm saying this again

Netflix doesn't even WANT successful shows that have a bit of effort and skill put into them cause they don't want to pay for it

They rather produce trash and hope it takes off instead of investing into things that are actually promising and full of potential and have ppl who care, working on it

They all and we deserve better

Let's get them a new home!

[idreamofgettingout]

since Leigh Bardugo, Six Of Crows and Shadow And Bone are trending i want to once again make it everyone’s business that the cancellation of Shadow And Bone still makes me so fucking mad. It makes no sense. And the SOC spinoff scripts are already written and are just sitting somewhere. We need it back. We, the cast, crew and everyone who worked on that show deserve it

https://www.change.org/p/save-shadow-and-bone-ce7587d2-eb61-4731-a5fd-7b9c85a9e3a8?source_location=search

[she-posts-nerdy-stuff]

Six of Crows Fan-Written Script

Okay so I haven’t done a great job up until this point of actually separating this into clear scenes so I’ve gone through and corrected that and part 4 is the very end of scene 3, all of scene 4, and the start of scene 5. I’m wishing that I’d put better thought into this from the start so I could’ve posted a scene at the time but unfortunately I didn’t have enough foresight for that so I guess we’ll just have to see how it goes and hopefully at least by episode two I’ll have a more sensible structure going on

As usual: Be warned I've taken a little artisitc licence (eg inserting a reference to my personal Anya headcanon in the opening part) but most of this is direct quotes/takes on direct quotes - and also I've never written a script before so my formatting is my own made up method I hope it makes sense. I’ve had to make some strides away from the book in order to match Show!canon but I’m trying to remain as true as possible. Thanks so much for reading and I hope you enjoy! ❤️

Recap: The last part ended with Kaz and Inej having a conversation after leaving the exchange, with Inej leaving after she said “Men mock the gods until they need them, Kaz”

Also: sorry if there are spelling mistakes in names I’m working mostly from audiobooks because neither of my copies of the books are with me right now

Episode One - Part 4

[KAZ shakes his head, then keeps walking. After a moment he raises his head again, aware he once more isn’t alone. He glances around him briefly, then cuts down a dark alleyway alongside a canal. The scene suddenly darkens as there are no street lamps along this new road, the water of the canal is murky and the yellow reflection of the moon can be seen broken across its surface in between small boats bumping against their moorings as they bob with the movement of the water. KAZ seems to relax once more. A shadowed figure appears ahead of him]

KAZ: What business?

[The figure lunges towards KAZ. He swings his cane towards the attacker and the camera moves in close to the moment that should have been contact - the cane passes straight through empty space that a moment ago was the attacker’s legs, and KAZ stumbles forwards as his momentum pushes him. He rights himself and looks up to discover he’s face-to-face with the attacker. The attacker punches KAZ in the jaw and the camera follows his movement as he falls back then swings his cane around again - only to empty space. The cane hits the wall and then is torn from KAZ’s hands. The camera movements are choppy and confusing, remaining focused on KAZ and showing little of the attacker - we essentially see what KAZ sees: a ghost. A figure steps through the wall - appears as mist and then slowly forms itself into a silhouette wearing a hooded cloak, only the edge of the figure’s face visible in the low light - and KAZ stumbles backwards, terror written across his face. The camera moves close on KAZ’s face as he panics, turning in every direction until a needle is seen being inserted into the side of his neck. His eyes roll, then close, and he collapses out of frame as the screen fades to black]

SCENE FOUR

[THE CROW CLUB. The club is busy; there are patrons at the bar, players at every table, people shouting and jeering. The camera follows the hand of a dealer spinning Makker’s wheel; players shout their joys and sorrows as it lands, completely oblivious to INEJ slipping past them. The club’s patrons are all brightly coloured, a few in the crowd even wear the masks of the Komedie Brute though that’s less common here than on the other Stave, but INEJ is the opposite. The camera watches her from above, moving silently and unimpeded through the crowd, she is an inkblot crossing the bright tapestry. When she stops at a card table the camera moves down through the scene to level with her, and turns to Jesper and two Ravkan tourists sitting at the table. The dealer at the table is ROJAKKE, moving quickly and impressively as he sets up the hand. JESPER is glad to see INEJ. It’s fair to assume she’s spoken to him since her return to the city and he was unfazed by her appearance at the Exchange tonight, but he feels a distance between them that he desperately wants to close. As she approaches, he smiles up at her over his shoulder and references his cards]

JESPER: What do you think?

INEJ: You know exactly what I think

[JESPER looks away. He was trying to emulate the closeness he feels they’ve lost and now fears he had inadvertently made things worse. INEJ turns to ROJAKKE as he finishes handing the final cards of the hand to the tourists]

INEJ: Rojakke, I need a private word - walk with me?

[He frowns but nods, excusing himself from the table and following INEJ towards the private gambling parlours at the back of the club. JESPER glances over his shoulder at them, then shrugs and places two cards onto the table. The tourists play their hands and JESPER grins triumphantly, leaning in to take his winnings when he is suddenly interrupted by ROJAKKE yelling as he marches back into frame - INEJ hurrying after him]

ROJAKKE: It’s not fair - I ain’t no cheat!

[JESPER gets to his feet and the camera follows his steps across the room towards INEJ and ROJAKKE]

INEJ, much quieter: Take it up with Kaz

JESPER: And keep your voice down, you’ll scare off the pigeons. There’s no fights on the Crow Club floor, you know that

[ROJAKKE sneers]

ROJAKKE: Where even is Brekker?

INEJ: I don’t know

[There is genuine concern in INEJ’s tone and she glances at the clock on the wall behind her as she speaks - KAZ has already been gone longer than expected]

ROJAKKE: You always know everything about everything. Isn’t that what Dirtyhands pays you for?

JESPER, murmuring: Not anymore

[INEJ silences him with a look]

INEJ: I don’t know where Kaz is and I don’t know when he’s getting back, but I do know that you won’t want to be here when he does

ROJAKKE: Give me my cheque. I’m owed for my last shift.

INEJ: Brekker doesn’t owe you anything

ROJAKKE: Can’t even face me himself - sent a little girl to gimme the boot. Maybe I’ll just shake a few coins out of you

[ROJAKKE reaches out towards her but he’s slow and has clearly been drinking. INEJ dodges him easily and the camera catches her slipping her fingers into a pair of brass knuckles as she moves. JESPER steps forwards but INEJ shakes her head, then turns and punches ROJAKKE in the face. Use the movement to transition into Kaz’s head movement in the opening of the next scene]

SCENE FIVE

[HOEDE’S OFFICE. Use the sudden movement of ROJAKKE’s head when INEJ punches him to transition into the sudden movement of KAZ’s head at the opening of this scene as a hood is pulled off him. KAZ is tied to a chair in a plush office; mahogany panelled walls with decorative carved shapes, including waves and the three flying fishes of Kerch, grand bookshelves, and an oil painting of a woman with a book open on her lap and a lamb at her feet (with a small but notable signature in the corner says ‘DeKappel’ and possibly a plate on the frame as well to prove its authenticity) are notable features of the set. At first the camera remains focused entirely on KAZ so we cannot see who he is with; someone behind him has removed the hood but they aren’t entirely in frame. KAZ has clearly taken an injury from the fight and there is blood on his face; whatever he was injected with has had him knocked out for an unclear amount of time and he is struggling to right himself. The camera pans back slowly to reveal a MEDIK crouched in front of KAZ, moving forwards to wave a small linen pouch (wolf salts) beneath KAZ’s nose. KAZ shoves back from him as far as his restraints will allow, attempting to kick at the MEDIK but unable to move his legs]

KAZ: Get away from me

[The MEDIK looks at KAZ with distaste as he slips the wolf salts into a small leather container and returns them to his bag. KAZ looks around him with veiled confusion; he expected to wake up in the den of a rival gang but instead is in the plush surroundings of a merchant’s house. The camera moves slowly around the room to introduce us to the scene just as Kaz is: he notes the armed members of the stadwatch at the door, the act that the painting is a genuine DeKappel, and as the camera rotates a broad hardwood desk is revealed, behind which VAN ECK is seated. VAN ECK appears more than simply prosperous. He’s in his forties, has a gaunt air about his face, and has a distinctly receding hairline. His outfit is noticeably similar to KAZ’s and distinctly different from the common trappings that have been seen in the Barrel. He leans on the desk studying KAZ, trying to hide his eagerness and not doing a particularly good job of it]

KAZ: What business?

[VAN ECK appears to be ignoring KAZ. He nods at the MEDIK]

VAN ECK: You may go. Please send me you bill - and I would of course appreciate your discretion

[MEDIK exits. VAN ECK stands and collects a sheath of papers from the desk and the camera cuts close to focus on the gold laurel leaves that make up the fob of his pocket watch and the large, perfect ruby on his tie pin]

KAZ: Van Eck

[It is clear he would have preferred to say something quite different. VAN ECK nods]

VAN ECK: You know me, then

KAZ: I know of you - the Red Laurel crest. You’re one of those merch crusaders always trying to clean up the Barrel

VAN ECK: I try to find men honest work

[KAZ laughs]

KAZ: What’s the difference between wagering at the Crow Club and speculating on the floor of the exchange?

VAN ECK: One is theft and the other is commerce

KAZ: When a man loses his money, he may have trouble telling them apart.

VAN ECK: The Barrel is a den of filth, vice, violence-

KAZ: How many of the ships you send sailing from the Ketterdam harbours never return?

VAN ECK: That doesn’t-

KAZ: One in five, Van Eck. One out of every five vessels you send seeking your fortune sinks to the bottom of the sea, crashes on the rocks, falls prey to pirates. One out of five crews dead, their bodies lost to foreign waters, food for deep sea fishes. Let’s not speak of violence

[VAN ECK is clearly affronted - and clearly trying to hide it]

VAN ECK: I won’t argue ethics with a strippling from the Barrel

[The camera cuts to KAZ’s fingers feeling as far along his chains as he can, subtly adjusting the position of his wrists]

KAZ: Well, if you didn’t bring me here to philosophise: What business?

VAN ECK: I have a proposition for you - or rather, the council does

[KAZ veils his surprise]

KAZ: And does the Merchant Council begin all negotiations with a beating?

VAN ECK: Consider it a warning - and a demonstration

[KAZ frowns, thinking of the way the figure appeared and disappeared like a ghost. He is trying to make himself stop thinking of ghosts]

KAZ: What possible use would the Merchant Council have for me?

[VAN ECK studies the papers in front of him, reading and looking over the top of the page at KAZ as he speaks]

VAN ECK: You were first arrested at ten

KAZ: Everyone remembers his first time

VAN ECK: Twice again that year, twice again at eleven. You were picked up at a gambling hall a few years ago and there was a warrant for your arrest six months ago - but you were found to be incorrectly charged, and haven’t served any time since you were fourteen?

[KAZ grins, shrugging]

KAZ: I cleaned up. Found honest work. Live a life of industry and prayer

VAN ECK: Don’t blaspheme

[VAN ECK’s eyes flash briefly with anger and KAZ notes it - he is keeping track of everything he knows about VAN ECK so far. He’s prosperous, pious, a widow recently remarried to a bride a similar age to KAZ, and there’s a mystery surrounding his son. VAN ECK continues to flick through the papers. As the conversation continues the camera moves between three positions: focus on KAZ, focus on VAN ECK, and a side view showing both their profiles backlit by the window]

VAN ECK: You run book on prize fights, horses, and your own games of chance. You were floor boss at the Crow Club for two years-

KAZ: Still am.

[VAN ECK frowns, looking between KAZ and the papers]

KAZ: We’ve reopened

VAN ECK, continuing as though Kaz never spoke: You’re the youngest to ever run a betting shop and you doubled its profits in that time. You’re a blackmailer -

KAZ: I broker information

VAN ECK: A con artist

KAZ: I create opportunity

VAN ECK: A bawd, and a murderer

KAZ: I don’t run whores - and I kill for a cause

VAN ECK, distastefully: And what cause is that?

KAZ: Same as yours merch: Profit

VAN ECK: How do you get your information, mister Brekker?

KAZ: You might say I’m a lockpick

VAN ECK: You must be a very gifted one

KAZ: I am indeed. You see, every man is a safe, a vault of secrets and longings. Now there are those who takes the brute’s way, but I prefer a gentler approach: the right pressure applied at the right moment, in the right place. It’s a delicate art

VAN ECK: Do you always speak in metaphors, mister Brekker?

[KAZ smiles widely]

KAZ: It’s not a metaphor

[KAZ jumps up from the chair and the chains clatter to the ground behind him. He leaps across the room towards the desk, snatching a letter opener with one hand and grabbing VAN ECK’s shirt with the other. He presses the blade against VAN ECK’s throat. KAZ is noticeably slower than usual, groggy from the injection and with no access to his cane, but he can still easily get the better of VAN ECK and the stadwatch officers in the room- and he is immediately more comfortable now he’s holding a weapon. The guards turn to him with weapons raised, a mixture of guns and swords]

KAZ: I don’t think I need to waste breath on threats. Tell me how to get to the door or I’m taking you through the window with me

VAN ECK: I think I can change your mind

KAZ: I don’t care who you are, or how big that ruby is, you don’t take me away from my own streets and you don’t try to make a deal with me when I’m in chains.

VAN ECK, calling towards the door: Mika

[A figure walks through the wall of the office in the same format of dissipating and reforming from mist as the figure in scene three and becomes a young boy, MIKA, in a slightly faded Tidemaker’s Kefta with a red laurel crest pinned to the lapel. He is clearly ill; his cheeks are hollow, there are large dark circles beneath his eyes, and his face is paled. KAZ panics - he thinks he’s hallucinating from some kind of drug Van Eck has given him]

[darrys-laundry]

i’ve seen some people expressing their gratitude to ms. towel and what the outsiders means to them, and i’d like to join:

i, like many of us, read the outsiders in eighth grade. it was one of the first essays of mine that i specifically remember a teacher asking to keep as an example.

(this teacher would go on to ask to keep many of my essays, and she’s perhaps the biggest reason i am where i am today, even despite the fact that she continues humbly deny this.)

anyways, i’m 23 now, about to be 24, but i was 13-14 then; and i still have the grading paper from our greaser vs soc debate.

(i was a greaser btw, and we beat those damn socs, lol.)

anyways, when i got to high school, i tried to take a script writing workshop. i was the only minor, and i started to have horrible, horrible panic attacks. ultimately, i ended up dropping out, but i had emailed the script bible to that english teacher, and she’d encouraged me to keep going. to keep writing.

flash forward, i’ve now graduated with a degree in tv writing and producing because my eighth grade believed in me. (never underestimate the power of teachers.)

now— this is the part where i admit: i was throwing-in-the-towel’s chicago tour anon 🫶

the outsiders was supposed to debut in chicago my freshman year of college, and even hearing the words ‘the outsiders’ as i was about to embark on my college career reignited something in me. it reminded me who put me here. and even the prospect of getting to see the book reimagined as a musical, reinforced my love of theatre.

(obviously, the pandemic got in the way, and while i like to joke that it’s my villain origin story, i don’t think we’d have what we have today if it hadn’t.)

when i finally did get back into the outsiders following this year’s tony awards, i really did try to resist the hyperfixation.

(and well, we all know how well that worked for user darrys-laundry)

i’ve been in fandom my whole life, and the idea of starting over in a new fandom scares the shit out of me, every single time, but my therapist literally tasked me to interact with content, and to at least give it a try.

so, i followed ms. towel. and that felt like a manageable amount of engagement for the time being.

and then i got brave enough to send some anon messages, and i made some art on my own blog, and eventually i became the chicago tour anon 🫶

i asked ms towel just about every question ever when i was trying to plan my own trip to see the show. (see: deeply anxious person.) and she answered every single one. i’ve always really appreciated that.

and i always thanked her for her kindness and generosity with the fandom; for reinforcing boundaries between us and the actors at the stage door, and for fostering a community here.

i’ve been trying to be really intentional with my gratitude lately. we need to let people know that what they’re doing means something to us, and i told ms towel as much.

anyways, i’m rambling as always, this book, this show means the world to me. and this fandom means something to me now too, for as much as i’d resisted, because of ms towel’s generosity, and the space that she’d created.

so, thank you ms. towel.

i’m going to keep creating for this thing that i love, and engaging with fandom now that i’m brave enough 🥲.

i’ll try to bring you tour content when it becomes available. 🫶

[xxxpu55yslay3rxxx]

So in other words, tumblr architecture enforces this shit lmao. This just verifies my crackpot theory that Tumblr rots your brain unless you are self aware about it.

Also I'd like to add, tumblr's commenting system sucks! Character limit that they don't tell you about, every single time you want to reply to anybody you have to tag them, making that shit look messy. Also for the fact that it just shows comments out of order sometimes. If ordered by latest first, you'll see recent comments on top sometimes even if you shouldn't.

Fuck it, let me be unhinged on the last line:

Tumblr ontologically fucking sucks!!!!!!!!!!!!!! Google+ was better!!!!!!!!!! the less this site acts like tumblr and more like good social media, the better!!!!!!!!

i think tumblr structurally encourages pissing on the poor

epistemic confidence: medium. (i always wanted to say that). this is amateur sociology and so should be taken with quite a bit of salt. this is absolutely a just-so story.

i think part of the reason tumblr and other similar social media websites have such a problem with misinterpretation is that conversational repair works differently than other forms of communication.

if you're talking in a group of people (over voice or over 'synchronous' communications like irc/discord that encourage short messages and paying attention) and someone responds in a way that indicates they misinterpreted you, you can interrupt them. and importantly, everyone else in the conversation hears you interrupting them. on a traditional forum with linear posts, you can't interrupt them, but anyone that reads all the posts (which, granted, isn't everyone) will eventually see your clarifying reply.

but on tumblr, if you make a post, X reblogs it with a misinterpretation, and you reply/reblog correcting X's interpretation, you have no way of notifying everyone that saw it from X; people generally don't go back and reread the notes on old posts, unlike forums where you'd typically read the threads you participate in. so the misinterpretation spreads.

and of course there's the whole 'screenshot this post to make fun of it' thing (which i'm not immune to, although i'm trying to do it less). it's obvious that screenshotting part of a post makes it even easier to misinterpret it, and i suspect that at this point for some people the mere presence of the "underwater" filter is enough to prime a "this is a bad opinion, i should disagree with it" reflex! and you can't go "hang on, that's not what i meant".

anyway. don't take this as like an iron law of social media or a thing that is definitely 100% true. but it's something i've been thinking about.