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These end of the world fics always make me keep thinking about them like this one. The blogging and everything else is just soo good and this fic with Love wins all

yess I am crying

something in the orange

summary. remembrance is also reconstruction. reconstruction presupposes loss. a meditation on memory, narrative, and grief. and, of course, love. pairing. boo seungkwan x gn!reader genre/tags. ANGST, (semi-graphic) major character death, interstellar au-ish (just the blight), non-linear narrative, blurred fiction and reality if you squint (sorry I reread goodbye eri while writing), unbeta’d (mistakes are my own) wc. 5k suggested listening. love wins all, iu // 消費期限, seventeen // triassic love song, paris paloma // eight, iu prod. & ft. suga // yawn, seventeen // something in the orange, zach bryan (or niall's cover)

notes. midnight in korea now; happy birthday kwannie! this is very experimental, and admittedly i'm not fully satisfied w it, but I didn't know how to change it atp. sorry boo, it's your birthday but i give you pain. as always, reblogs are appreciated and come say hi if you're so inclined 🫶🏼

D-17 EXT. SEOUL TRAIN STATION – KOREA – DAWN The sun rises over the ruins of Seoul Station. The air is clear of smoke and fog. A shot of the sun peeking over the heap of steel, glass, and cement that once served as the station’s framing. The train tracks run to the far horizon, to the left and right of the frame. Pan to YOU (young-looking though age is ambiguous, former writer, love of SEUNGKWAN’S life) squinting at an old, battered map of Korea’s train lines, and a compass. You’re wearing battered jeans that are slightly too big, boots, and a sturdy leather jacket. Behind the camera, SEUNGKWAN (male, young-sounding though age is ambiguous, former video producer) narrates. SEUNGKWAN (O.S.) BOO-log number 529. We’re now figuring out how to get to Mokpo. Neither of us are any good with directions, but my partner decided that we could try following train lines since the none of them are running anyway. You look up at the sound of his voice, noticing the camera.

YOU (exasperated, but fond) Kwannie, are you filming again? We have 30 batteries, but not all of them might be working. You might need to save battery and memory if you want to video the view of Jeju Island. SEUNGKWAN (O.S.) It’s okay, I really just wanted to record us before we start. Once we’re walking, I won’t use the camera as much. And I have twenty other SD Cards! YOU (not surprised) Okay, we’ll definitely figure something out for the batteries, then. SEUNGKWAN (O.S.) Yeah. Now— Seungkwan’s voice changes to a more formal tone, as though he were imitating a newscaster. SEUNGKWAN (O.S., CONT’D) What are your thoughts as we start our newest adventure? The camera catches your grin. You follow along, changing your tone to an impression of those backpackers in TV documentaries. YOU Um, I’m excited to see Jeju-do, even from afar, because it’s part of Seungkwannie, and we had our honeymoon there. As long as we’re careful, I know we can do it. If we’re lucky, we may even find someone who can bring us across. Beat. You look ever so slightly awkward in front of the camera. YOU (CONT’D) Wait, here, give me the camera. I’ll record you this time. The footage shakes, briefly showing a tiled floor, then train tracks, before panning to a blurry face face. The camera shakes for a moment before the image comes into focus, revealing a beautiful young man with dark hair. Seungkwan does a better job at the “interviewer voice”, but you’re no slouch either. YOU (O.S., CONT’D) So, Seungkwan-ssi, what are your thoughts as we embark on a new adventure? SEUNGKWAN (genuine) I think it’s about to be wonderful.

D–2183

When the Blight started, both you and Seungkwan were in high school. Though only having known you since that start of your third year, you’ve quickly wormed his way into his life—visiting his house, having dinners with your family, and he even managed to force you into joining the badminton club with him.

Bees now officially extinct, the news proclaims, an effect of the ravaging of nearly all plant life. Asia in particular has suffered; the widespread rice shortages due to it becoming impossible to grow resulted in widespread famine. The extinction of plants used for feed, made food prices across the board skyrocket. Corn, it seems, is the only crop that can resist the Blight—and the rest of the world now has to adjust its staple food to mimic the old Americas.

“Seungkwan.” You prod his ribs.

“Mm?”

“What would you do if the world ends tomorrow?”

“Marry you.” You laugh, until you realize he isn’t joking.

“What?” Your voice pitches to an incredulous squeak.

“Marry you,” he repeats.

“Why, though?”

“I always wanted to get married,” Seungkwan replies, after a moment of pondering. “And if the world ends tomorrow, as of today you’d be my best candidate for marriage.”

For a moment, you just look at him, eyes tracing over his features. Your steady gaze makes him shift, uncomfortable, wondering if he said something wrong. Eventually, you shrug, though there’s a twinkle in your eye as you quirk a smile at him.

“While I don’t support shotgun marriages, I’d make an exception for you and the end of the world.”

His breath catches, heart stuttering as he tries to parse your answer in his head. “Wha—you—”

“Come on, Seungkwan, don’t dish it if you can’t take it,” you groan, flopping sideways to plop your head against the armrest. Your legs tilt as you do, your foot brushing against his calf. He tries not to jolt at the contact.

“I’m sorry!” He pouts, trying to calm the uneven fluttering of his heart. You laugh, shifting your lean in the opposite direction, so your head lands on his lap. Despite having done it a thousand times before, he traces softly the way your hair falls, admiring the way its color contrasts with the color of his pants.

(Looking back, he’ll think about how that day changed things, even just by a little bit; how his gazes grew longer, noticing more how the sunsets glowed against your face as you walked home together every day, painting you golden. How you’d both gotten used to creative ways of shelter when mild dust storms come, thanking your luck each time that you had gotten home before it truly began.

He’ll think about how, a year from that day, he kissed you as he walked you home for the last time before you enter your separate colleges, swallowing the teasing took you long enough from your lips as he finished his shaky confession.

He’ll think of how you exchanged second buttons like those characters from that anime you liked did, and the quiet promises to make things work even as the world seems to turn more barren than both of you can follow.

He’ll think of how three years from then, he gets on one knee, to your tearful yes and salty kisses. Your small marriage, with just your families, batchmates, and some professors, followed by a beautiful honeymoon in Jeju. Despite it all.

None of these decisions had anything to do with the end of the world, but you and Seungkwan made them, nonetheless.)

D-9 INT. A TENT – A TRAIN STATION SOMEWHERE BETWEEN SEOUL AND MOKPO – NIGHT The footage is grainy due to the lack of proper lighting; the camera shakes as Seungkwan seems to be trying to balance it on something. The tent is quite cramped; the inside is sparse, with only two sleeping bags and your knapsacks—Seungkwan’s with two camping pans attached with a carabiner. The leather jacket you were wearing is now resting on one of the bags. You have both swapped your sturdy day pants for more comfortable, albeit worn, sweatpants. Out of context, it looks like a vlog filmed by two campers on a hike. The camera steadies as Seungkwan moves away. He moves to sit beside you. There is an easy intimacy as you thread your fingers together, almost mindlessly. SEUNGKWAN BOO-log number 531. We passed by a sign that said Nonsan. That means we’re probably halfway there. YOU We made progress better than expected, didn’t we? I estimated at least two weeks. SEUNGKWAN (nodding, excited) I thought the train tracks would have been ruined, since the stations are, but they’re surprisingly reliable. YOU It’s true; of course there were times when we had to find our way around the tracks, or climb above anything that fell down over it, or go through some cornfields, but mostly, it seems we’ve been lucky. SEUNGKWAN By the way—everyone, it looks like we’re in a tent in the middle of nowhere, doesn’t it? Don’t be fooled, we set this up in a convenience store. YOU (laughing) You ruined it! Now we can’t be funky backpackers with a tent on the train tracks. SEUNGKWAN (playfully lecturing) It’s good to be truthful, you know. What if kids watch this someday? We have to be good moral people. YOU (with the remnants of a laugh) Okay, okay. We set this up in the Seven Eleven inside one of the train stations. Abandoned, obviously. We made it in right before the dust storm hit. SEUNGKWAN Another good news today is that we managed to barter something for food. YOU Yeah. This one engineer or something—I think he’s a veteran? But we saw him tinkering on his porch and offered a trade, his corn for our cables, and now we have dinner. SEUNGKWAN (joking) It’s not jokbal, but it’ll do, I suppose. YOU (groaning) Oh my God, what I’d give for some jokbal right now. With bossam. And soju. SEUNGKWAN I’ll be dreaming of that tonight. YOU Anyway, everyone, we’ll end the log here, so we have enough batteries for a nice long BOO-log at Mokpo. Both you and Seungkwan wave your corn (dinner) at the camera. You reach forward, covering the lens with your palm. The clip ends.

D–20

Seungkwan walks around the house. He’s doing his last checks, checking between what’s in his bag and what’s in the rooms to parse if he’s missed anything—batteries, your wallets, matches, passports, birth certificates, first aid kit, water bottles, toothbrushes, all the canned food in the pantry, the sturdiest kitchen knife you both owned (wrapped in two layers of cloth), the Swiss knife he was gifted a few years back, flashlights, a whistle, and all the carabiners and hard cash you had were already packed.

He finds you in your shared bedroom. There are a bunch of wires there, evidently cut from various appliances. You’ve wrapped the cables as neatly as you could manage. On the bed, you’ve laid all your dry-fit shirts and the sturdiest pairs of pants you both have. Then, from the dresser, you’ve collected the most expensive jewelry the both of you own—well, all of them, but you separated the expensive ones in another pile. He points to the latter.

“What’s that for?”

“If cash fails, maybe gold won’t. I don’t know, just in case the currency collapses. But they’re worth bringing all the same.” Also, you hold out copies of both your health insurances. He opens his knapsack and quickly stuffs them in the same place as your other documents.

“Last resort kindling?” Seungkwan offers, showing the cluster of documents in his compartment. The remark draws a quick breath of a laugh from you.

“Probably.”

“How about the wires?”

“You never know when we’ll need some emergency engineer bullshit; plus, if it comes to it, the wires will probably be better barter material. Before you ask,” you hold up one hand, “I edited a zombie novel a few years back. But if that kid was pulling out of his ass, we’re fucked.”

Despite your disclaimer, the no-nonsense, matter-of-fact way you’re handling the situation makes something settle in him, as though all he needed was an anchor amid the chaos. He pulls you close, placing a kiss to your temple. The tension in your body melts as you press against him. For a moment, Seungkwan just holds you. A temporary anchor before you need to move.

Turning to him, you offer a quick peck to his lips before holding up his trusted camera bag, worn as it is. “Bring it,” you tell him firmly. “We need a little bit of happiness. Get all the SD cards you have, too. In case we just never leave Mokpo. It’s small enough to stuff in our pockets.”

Seungkwan can’t help it; he grabs your face and kisses you. The camera bag sits between you awkwardly, but he doesn’t care. He savors this, the familiar taste of it, the contours of your face that his hands have long since memorized. You pull away, but not before kissing his lips again, then his nose. He’ll never quite get used to the way you look at him, as though there is something new to love each time.

“We’re gonna be okay, my heart.”

D-4 EXT – A LONG STRETCH OF BEACH – MOKPO, SOUTH KOREA – SUNSET The camera captures a breathtaking sunset. The sky is a wash of oranges and pinks, the clouds purple yet lined in the light of the sun. Mokpo is on the southwest side of Korea; the view of the sunset is particularly beautiful, as the sun sinks down into the sea. There are faint silhouettes of islands both near and far from the shore. The waters are tranquil, and there are no sounds except for the steady wash of the waves on the shore.

The shot slowly pans to you. Your expression is tranquil, despite the dirt and tears across your clothes. SEUNGKWAN (O.S.) (soft, so soft you don’t hear) Pretty. YOU (clueless) Hm? SEUNGKWAN (O.S.) Nothing. Can you see Jeju Island from here?

He already knows where it is. YOU (laughing softly, a little sad) To be honest, I don’t know which piece of land I’m seeing is Jeju. A finger appears at the edge of the screen. SEUNGKWAN (O.S.) There, that’s Jeju. Right behind the blob that looks like a hat. YOU (squinting) Oh! Right, that’s what it looks like. Beat. YOU (CONT’D) The view is beautiful. It’s been so long since I’ve seen the sea. Seungkwan hums the opening to Tears of Mokpo. You don’t recognize it until he softly begins to sing the opening lyrics. SEUNGKWAN (O.S.) (singing) 사공의 뱃노래 가물거리면… YOU (laughing outright) That doesn’t have anything to do with Jeju! He sings louder just to spite you. You playfully roll your eyes. Bending down, you unlace your boots and take off your socks, sinking your bare feet into the sand with barely-concealed relish. Seungkwan stops singing as he knows what you’re about to do. SEUNGKWAN Careful; don’t step on anything sharp. As you move forward, the camera follows you. It is revealed that the beach is not so picturesque. The sea seems to have dried up some, and even here, bits and bobs of life float on the surface and linger in the sand.

There are the usual culprits: plastic bags, empty cans of alcohol and soda, and snack wrappers. Yet visible also on the camera are the following: bullet shells, shrapnel, a chair leg, a ragged pillow, and a cracked desktop monitor. As all this is visible, the camera centers on you laughing, splashing in the saltwater and enjoying the breeze in your hair. YOU (calling; audio faint) Kwannie! Come here! A beat. The camera zooms in on your face. YOU Kwannie, come on! Hurry up! SEUNGKWAN (proximity makes his voice loud) Okay! A rustle. The camera is laid down on the sand, and another figure, barefoot, joins you.

D–119

Jeju has officially been declared abandoned, lost for some other country to use as farmland. The radio announced the treaty ratification today. Seungkwan is a spectre around the house, listless and heartbroken.

Months ago, when the conflict began to escalate in earnest, he began whatever arrangements he could to ensure his family was safe, moving them as near to the farming areas as he managed and encouraging them to share whatever techniques they knew could help former cities now learning how to grow corn. The news does not make the sharp pang of grief dull any less.

He is at the age when he is to receive a conscription notice; Korea has shifted its system to split soldiers into those who will either fight on the front lines of the Resource Wars, or serve by tilling the land and ensuring that there is enough corn for the population, however dwindling. There is no guarantee on which one he is to get, even if he did register himself as head of household (and should hypothetically be assigned the latter), but he is due to receive news in a few months’ time.

The promise of the notice hangs over both your heads. In the mornings, you spend ten more minutes just looking at him, as though you were memorizing the shapes and contours of his features. At night, he curls into you more tightly than before; where you’d complain of the warmth before, now, you simply wrap your arms around him and let him sink his face into your hair.

“Hey, Seungkwannie.”

“Mm?”

“Let’s go on a trip.” The hand mindlessly running through your hair falters.

He pulls away, looking at you with a furrowed brow. You keep your head low, pressed against his chest. “What?”

“Let’s go south. Yeosu, Mokpo, whatever, just near the beach, as close as possible to Jeju. Just…just see it, even from afar.” At his silence, you barrel on. “If we walk enough, we can make it in two weeks—a week if we can hitch a ride with one of those crop trucks or something—and then just another two weeks back, if we don’t settle in Mokpo outright.”

“Food—”

“I can pack us as much as I can. We’ll need to ration, and possibly trade, but we can do it. The treaty is in place, and it’s most dangerous up north right now. Going south isn’t as big of a risk, and the weather has been looking good lately.” Finally looking up, you cup his cheek, tracing the skin with your thumb. He presses his lips to your wrist.

“It’s okay if you don’t want to Kwannie. I just thought you might want to say goodbye.”

“I…” he falters. It’s tempting. Unbearably so, despite the nagging at the back of his head that it would be better to leave it at that, keep his memory limited to the days you spent there dodging dust storms and falling in love. He doesn’t know how much it’s changed. How much the ocean might have even dried up. He doesn’t know if he can stomach to see it. “Give me a few days to think about it?”

“Of course, Kwannie. All the time you need.”

D+29

Seungkwan’s life has been demarcated into two. Before, and after. He goes through the motions of the government-run fields: waking up, clocking in, eating breakfast, tilling the soil, weeding, lunch, the occasional drills in case they were still expected to fight, transporting corn from one warehouse to another, dinner, sleep. Repeat.

Not a lot of people are here; many prefer to till fields they own, or collectively own; for once, agrarian reform straightened itself out at the start of the Blight. Yet with the dwindling population—slowly withering family trees—those lands acquired by the government grew.

Sometimes, Seungkwan thinks of home. He was lucky enough that the head of the center, Seungcheol, was kind enough to register his name as part of the deployed cadets of this field, despite the incomplete paperwork he had when he stumbled into his field, frail and dehydrated from the travel.

Home remains now only in his memory, and in every replay of the Christmases he captured on camera. The soil is more unforgiving than before; it distracts from the loneliness.

EXT. A SMALL FIELD, WEDDING VENUE – DAY The wedding is humbly decorated with dried corn leaves fashioned into flowers, as there are no real ones anymore (none within the budget, anyway). Guests came as they are, though everyone has made an effort to clean up more than usual. It is currently the reception, and the speakers are playing a quick beat. The guests are dancing, laughing, and cheering, though their movements are blurry and almost smeared onscreen (step-printing effect). In the middle of it, you stand, the only still figure in the frame. You’re smiling softly, to someone behind the camera, very clearly in love. Cut to Seungkwan, in a similar position, the guests around him dancing as but blurs. He is wearing a similar expression. He begins to walk forward. You meet in the middle, still the only clear figures in the camera, and begin to dance. As though the dance were a spell, the surroundings cut to: INT. A MEDIUM-SIZED LIVING ROOM – NIGHT EXT. SEOUL STATION, IN RUINS – DAY INT. YOUR TENT (MAGICALLY ENLARGED) – NIGHT EXT. LONG STRETCH OF BEACH (UNPOLLUTED) – MOKPO – SUNSET Hold this image for a moment. The sea laps at your ankles. The bottom of both your garments brushes against the saltwater, but neither of you seem to notice. Both you and Seungkwan close the gap to meet in a tender kiss. Suddenly, cheers. You part, and are back to: EXT. A SMALL FIELD, WEDDING VENUE – DAY The newly-married couple smiles and waves. The bottom of their garments are damp.

D+167

It seems surreal to have all the batteries he wants, and even a computer where he can replay all his footage—more than 4000 hours’ worth of it. It took a few months of work to earn enough credits and rank to access it, but Seungkwan pursued the goal with single-minded purpose. There is enough electricity in this center to run a few computers, and Seungkwan is its most regular customer, painstakingly going through each clip on the dozens of SD cards he has.

For footage so far back, from when you had just been married, there are parts where he no longer remembers what happened after the clips end. They remain in his memory as but colored ghosts, warm-tinged with nostalgia. Cabinets that would never be opened again, now filled, in his dreams, with infinities.

The house of his memories blurs with the house of his oneirism. In both, he subsists on sleep and daydreams. But memory will betray; it won’t tell him if the house he remembers has been altered by each remembrance. So he watches his videos. He walks through his house, now only alive in video reconstructed by memory. He sees himself and he sees you, in all the different iterations you both were. Wonders if he could stitch both into narrative. Wonders if he could even bear to cut any scenes. He’s never thought about the violence of that act until now.

Inventories do not just catalogue possession; they also measure the potential of loss. It was a quote from one of your writing workshops, discussed over a late dinner. You could still afford some meat then; Seungkwan had saved just enough for a small slab of cured pork, which you would cut tiny slabs from for both of you to enjoy before bed.

He has five minutes left of his designated slot with the computer.

Seungkwan watches, and he catalogues.

D=0

Seungkwan only remembers in flashes—a gunshot. A scream. It’s only when he replays that moment in his mind that he realizes it was his voice. Barely a thud as your body is cushioned by the corn leaves. Dark red liquid, somehow both grainy and slippery on his hands as he drags you into the thick of the field, away from the path, trying desperately to stem the blood while minimizing your trail. Until finally, he collapses, feet unable to bring him a step further.

More flashes—your eyes, only ever kind. Even at your last moments. The way you hold his hand and place it over the pocket you keep his SD cards, as though reminding him one last time. The way your eyes search his face, first desperate, and then resigned. The way he leaned in when you opened your mouth, to hear your final words, only to feel the ghost of chapped lips brush against his ear. The gush of blood that dribbles past your mouth that tells him you’re gone.

(The Resource Wars felt like more a backdrop than anything else; you had come this far without any altercation. Yet even as you screamed that you were not thieves, just travellers, the gunshot rang.

The cornfields weep with him as he leaves you behind, SD cards clutched in his bloody hand.)

D–4

TIME CUT TO: It is twilight, now. The camera is trained on the horizon. The sun has fully set, and night is beginning to settle in the sky. Only the barest hints of orange remain. The footage has already become slightly grainy due to the lighting. Neither you nor Seungkwan are on the camera. Instead, voices are heard while the darkness arrives. It is not evident whether the footage was taken accidentally, or on purpose. SEUNGKWAN (O.S.) (softly) I’m glad we came. Really, even if we couldn’t get to Jeju. I’m glad. I’m glad it’s with you. YOU (O.S.) (just as softly) I’m glad too, my heart. You filmed the whole sunset, didn’t you? Start to finish? SEUNGKWAN (O.S.) Yeah. Yesterday and today. I have so much footage that I don’t know what to do with.

Breath. SEUNGKWAN (O.S., CONT’D) Actually, that goes for all the BOO-logs. Even the ones from high school and college. YOU (O.S.) (surprised) You never tried editing them? SEUNGKWAN (O.S.) I have, but what then? There are hardly any theaters now. Nowhere else to post. And electricity is expensive. YOU (O.S.) Okay, but if we both die, what do you think’s gonna happen to this camera? Seungkwan is many things; a prideful badminton player (before the Wars stopped sports events), a videographer, casual vlogger, and a corn field worker. You are also many things; an editor (before your company closed from too little employees), author, copywriter, and occasional tiller.

Both of you still enjoy nurturing sparks of creativity when they come. SEUNGKWAN (O.S.) Mm. someone picks it up and it gets immortalized in a post-war museum. And our videos will be a special feature. YOU (O.S.) Oooh. And the war museum would be on a spaceship, with funky gravity and new plants and meat the astronauts domesticated from a different planet. SEUNGKWAN (O.S.) And there’s a new jokbal. Call that out of this world delicious. YOU Stop! Despite the terrible joke, you both laugh, then let the conversation drift into comfortable silence. The sun has fully set. Nothing much can be discerned visually from the footage. YOU (O.S., CONT’D) Hey, Seungkwannie. SEUNGKWAN (O.S.) Mm? YOU (O.S.) If you had the chance, like computers and steady electricity, would you edit all the BOO-logs into a short film? SEUNGKWAN (O.S.) (skeptical, but thinks about it seriously) What would the plot even be? A married couple traveling to Mokpo, dodging dust storms and chasing each other through cornfields? Watching the stars at night? YOU (O.S.) (earnest) Yeah! Or, y’know, make it semi-autobiographic, like two lovers wanting to visit where they first had their honeymoon. Or maybe I’m sick and you want to take me to the sea one last time? The footage earlier could fit with that storyline. SEUNGKWAN (O.S.) Don’t even say that! YOU (O.S.) (laughing softly, apologetic) Sorry, sorry. But if you do make a short film, I want to be the first to see it. It’s been so long since I’ve seen you work. SEUNGKWAN (O.S.) What about you, then? Would you write a book about us? YOU (O.S.) Oh, definitely. And you’d be the first to read it. The footage cuts.

D+182

Seungkwan replays the footage again. Beside him, Vernon fiddles with a pen.

“What do you think about making this a short film?” Seungkwan asks.

Vernon stops.

Seungkwan may be their newest addition, but the rest of the crew has grown protective. He brings light to their conversations, effortless in his ability to entertain and bring laughter. Mingyu asks him of his favorite foods, especially the ones he misses from Jeju, even if recreating them is near impossible. Seungcheol reprimands anyone who tries to bully him into giving up his share of rations. Junhui has begun to joke more, noticing how Seungkwan seems to be particularly into his humor.

Yet everyone recognizes the sadness that still clings to his heels.

Vernon looks, for a long moment, at the monitor, frozen with a picture of a smiling face he’s never known—never personally, only ever through the screen and Seungkwan’s stories, always shared in quiet whispers in the privacy of his room.

He knows, though. Knows that this person was real. They loved, and were loved. It speaks in how the camera follows whoever is in the frame. The cuts of certain clips, as though either the person behind the camera joined their partner or had a moment that could not be captured in film. Most of all, it was the way whoever was in the frame would, without fail, smile at the person behind it.

“I think,” he replies, choosing his words deliberately, “that you are in a unique position to dictate how someone is to be remembered by those who never knew them. And…” he hesitates, wondering if the two months they have known each other is too little to be so candid with his friend, especially when talking of loss.

So, so much loss.

Seungkwan answers that question for him. “It’s okay, Vernon-ah.”

“…Well, I just wanted to say that it’s a burden to bear, is all.”

EXT – A CORNFIELD UNDER THE STARS – NIGHTTIME The stars have emerged, visible in all their glory. After the start of the Blight, when the population began to dwindle, electricity and many other resources became scarce. Much of the light pollution that was once a problem has disappeared. Brilliant dots twinkle overhead. To you and Seungkwan, it could pass for the Milky Way. The POV seems to be at a low point; stalks of corn are visible at the edges of the frame. Yet the stars are bright, captured exceedingly well.

You’re softly speaking aloud Laura Gilpin’s The Two-Headed Calf. It was one of the poems you memorized in college, as a creative writing major. YOU (O.S.) (as though from far away) Tomorrow when the farm boys find this freak of nature, they will wrap his body in newspaper and carry him to the museum.

But tonight he is alive and in the north field with his mother. It is a perfect summer evening: the moon rising over the orchard, the wind in the grass. And as he stares into the sky, there are twice as many stars as usual. Long beat. SEUNGKWAN (O.S.) Twice as many stars as usual…let’s look up together. YOU (O.S.) I see the stars, my heart, but I’m tired…

A breath hangs in the air. Some rustle of cloth, as though someone had adjusted so you fit together. A soft sigh. YOU (O.S.) Good night, Kwannie. SEUNGKWAN (O.S.) …Good night, darling. End.

note. are the screenplay bits from the short film? the raw sd card clips? his memories? distorted memories? guess we'll never know. nonlinear bc grief is nonlinear. pls tell me your thoughts (even/esp if u didn't get the story lol) take care of yourselves always <3