#but like rotating in my mind like how to come at it from different angles/starting from themes etc

[planet4546b]

been wip brainstorming lately cause i need a new story to pick away at and it’s fun like. being a writer who is also an adult and can come at things from different angles. cause so many of my wips are from when i was like 14-18

[lemon-lime-behavior]

Do you have any tips for drawing noses? Sorry this is out of nowhere but I'm wanting to improve on my art, specifically the faces, and it's always the nose I find myself struggling most with.

I really struggle w making it fit the face if that makes sense? Every time I try to add it it just throws the whole face off, especially the eyes, not to mention how to make different nose types and the angles </33

I love your art style so bad, it's so smooth and satisfying to look at and the way you draw noses like it's nbd (and anatomy in general like damn) baffles me so I was just wondering if you maybe had any tricks or not, Ty either way for sharing your art in the first place <33

@extravagav Well I can try! First off thank you very much, I often feel like I still have a very long way to go in regards to proportions and anatomy so I really appreciate your kind words <3

Hokay, so, noses. I do love noses. To start off when it comes to drawing noses I'm afraid I'm going to have to give you the most annoying advice in the world which is just to practice a lot. Find a lot of pictures of noses in a bunch of different shapes from a bunch of different angles and just draw them until your brain melts out of your ears. Pay particular attention though to the nose as a 3D object!

It's of course trickier to do than I'm making it out to be but the more you practice at imagining the nose as a 3d physical form the easier it becomes to make a nose model in your mind that you can rotate like a microwave.

This is my personal very very basic understanding of the nose's construction:

it's like three circles and a taco shell.

Okay so now that you've got a basic understanding of the nose's construction, how to put it in the middle of the god-dang face??

So the funky thing about noses is that they tend to change shape the least out of all our facial features when we're making expressions. Our eyes change shape, our mouths move, our eyebrows, our cheeks, our jaws, they all go all over the place. the nose, however, tends to be pretty stationary and doesn't deform much (save in one important way I'll get to later). So because of all this, and here's my biggest piece of advice when it comes to making the nose fit in the face, I like to draw the nose first! I do a very loose head construction, draw the nose, and then sort of "hang" the rest of the features off of it:

Two very different expressions, same nose!

Now when it comes to noses interacting specifically with the eyes the greatest thing to remember is that the part of the nose that sits between the eyes sticks out farther than you might think, and will likely be obscuring one of them, the extent of which depending a lot on the angle and how pronounced the nose bridge is.

for someone with a pretty flat nose bridge you'll be able to see most of the eye except in a more extreme angle, while someone with a protruding ridge might obscure the eye entirely. but the nose will likely be interacting with at least one eye if we're not facing the character head on. Really making your brain think in 3d is gonna most helpful here.

Finally! The nose being expressive! So the main way the nose plays in to expression is by wrinkling. the muscles that pull up your top lip and the muscles that pull down the middle of your forehead are almost all connected to the nose, so the nose tends to develop a lot of wrinkles whenever brows are furrowed or teeth are bared.

Adding those wrinkles can add a lot of impact in the expression! And not just angry ones neither:

Sooooooooooooooo yeah! noses! They're weird and they come in all sorts of shapes and sizes and they can do a lot to add character to a face and they can also make you want to tear your hair out in big clumps! I'm still learning myself when it comes to noses (and most other things) and I'm faaaar from a master at it, but I hope I've been able to provide at least a little bit of help. If you do use my advice going forward please let me know! Good luck!!!!! (And here's all my nose "headcanons" for the strawhats. The ones who actually have human noses, anyway):

[godbirdart]

Looking at your recent commissions, those backgrounds are soo pretty!! Do you have any tips for backgrounds? I always struggle with them :>

aAA many many thanks!!

backgrounds can absolutely be a struggle but they don't have to be! they just require a little more creative planning~!

whether it be a commission or a personal drawing, if I'm building an elaborate art piece i focus on establishing the background First.

the background is the stage for your character! planning the background first will make it easier to tailor the character's actions and how they interact with the environment around them.

planning the background first can be the difference between your character standing awkwardly front and center with the setting going on behind them, or actually participating in their environment.

if i'm super stumped for background ideas, i browse stock image sites to get inspiration. sometimes it helps to doodle on an image to generate some ideas - kinda like you're playing with JPEGs like dolls.

that said - while i'm pinpointing WHAT i want to draw, i keep the ideas loose. i don't want to focus on the itty-bitty details until i've got the overall aesthetic and layout in mind, as i might get inspired to add something in later!

THUMBNAILING

if you're planning a big piece it can be helpful to break it down into something bite-sized before you go all in and start lining or painting. these are "thumbnails" - fast little sketches that establish the scene in a way that doesn't consume a lot of time or effort. it's also great as a little perspective exercise as a treat.

here i decided i want to draw a character walking home in a back alley street. with these photo references in mind, i can plan a layout and how the character will act in the scene. is this a candid shot? are they posing cutely? are they looking down at us in a tense way? there are many ideas to be had!

after you've chosen the layout / vibe for your idea, you can scale up your thumbnail to your preferred canvas size and start fleshing out the details. be sure to keep referring to your reference images to get additional ideas, such as storefronts, items, props etc!

3D MODELS

If you're trying to create a unique environment that photo references simply cannot help you visualize, 3D models exist! This gives you that ability to rotate / scale things for better visualization. Clip Studio has a vast catalogue of 3D models to download For Free that you can fiddle around with. i know there are many 3D builder sites out there as well, though i've never made use of them so i'm afraid i cannot recommend any off the top of my head. hell, you can even use the Sims game to design a setting and go from there!

also if anyone is going to come into my house and say 3D models are cheating: they are not. using a 3D model to better grasp an angle or get a better idea for perspective is not cheating. using 3D models to help plan the environment in your art is not cheating. they are no different than brushes; these are tools made to HELP YOU. use them!

PERSPECTIVE

perspective and angles can make a HUGE difference in the art piece. there's nothing wrong with static long shots! if that's what you want to draw, do it!! there's no right and wrong here!

but if you're finding your work to be a little robotic and stiff, slap an angle in there. consider an overhead view. these same techniques are applied to photography and film! nothing wrong with wide shots, but every once in a while it can help to throw in a dutch angle.

if there is one note i'd like to leave off on, it's that your backgrounds do not have to be 100% accurate-to-life to be Good. unless realism is something you're really striving for in your style, don't feel compelled to nitpick every brick and leaf in your art. us artists can tend to over-prune our work until our art looks a little bare and soulless. flaws can give your work character, and that's often a lot more appealing than how accurate the scale ratio between background building A and building B are [again, unless you WANT to go for that realistic look then you can fuss over those details all you like].

i hope this helped a little! MY APOLOGIES FOR MAKING IT SO LONG AH

[perfectlysanexd]

How do you do your Final Fantasy edits?

The hard way, my friend. No AI is used here, I do it all by hand. 🥰 I assume you mean the screenshot manipulations I create? I'll try and give a simple summary... First, I boot up Remake on PC and use a "free camera" mod(you can find the links to the mods I use on my archive pages for manipulations, which is on my pinned post) to take a couple screenshots that I think will work well together. Sometimes I change my mind and choose a different one. It can be hard to match the camera angles and lighting, so sometimes I have to mess with that later, as well. But it's easier if they fit together from the beginning. We'll take my current WIP as an example. I started with these two screenshots:

I open them in the free program GIMP (GNU Image Manipulation Program), which anyone can download at gimp.org. Then the first thing I do is choose the base image. In this case, they're both facing the same way, so I choose to flip Sephiroth(you can't really do that with Cloud easily because of his earring, and his hair is less symmetrical). Since the camera was closer up on Cloud, and he's the smaller one, I usually choose Sephiroth's to be the base image. With that decided, I roughly cut Cloud from his background and paste him onto Sephiroth's image as a new layer. Then I position him, resize him, rotate him, whatever I need to do until he seems to be in the desired place, which ends up looking like this: (I ended up adding snow for this preview, so it would look more complete than it is when I showed it to my server, haha)

If you look at Cloud, you can still see a thick outline of his old background around his head. Once he's positioned properly, it's time to remove the rest of his background(I use a size 10 eraser with 100% hardness and zoom in about 5 times). Then I need to think about where they're connected, and how to make them look like they're touching, as well as layering to make them seem intertwined, as if they're truly occupying the same space together.

I cut away some of Cloud's shirt, and the rest of that effect will come with shading later. If I wanted Cloud even closer, I would make a duplicate of Sephiroth and erase his background, so that his lock of hair would appear to go over Cloud's face. I could also make it semi-transparent, so you could see the outline of Cloud's face through his hair. You can see I have some small game defects to fix, such as Cloud's hair clipping through his ear. I leave those tiny details for later, typically. Sometimes, because of their height differences, I have to "rebuild" missing parts of them from scratch, such as I did for this other manipulation:

It's a delicate process that's mostly the clone tool(to keep the textures) and some freehand drawing, but I don't have an art tablet, so I use my mouse for everything, which can be quite challenging. I've had a lot of practice from translating doujinshi, where I'd erase the words, rebuild the missing part of the image, and then place the translated words over that spot.

In any case, I decided I wanted more out of this manipulation than just leaning against each other. I wanted Cloud to be reaching up towards Sephiroth, and perhaps for Sephiroth to be pulling him closer. To do that, I needed pictures of their hands/arms like so:

I've taken hundreds of shots, so I looked through what I had first, but it wasn't the right angle, or was the wrong outfit for Cloud, so...then you open up those images and cut out the parts you want. After that, you work on positioning and things like that again. I haven't finished with that part yet, so it looks a little awkward. (And when you're doing these kinds of things, color matching is very important, but that's a bit advanced.)

I'm not fully satisfied yet, so I'll probably remove the rest of the background from the arms and then mess with the placement. As for Sephiroth's hand, I intend to thread it in Cloud's hair, so Cloud will need to be duplicated in order to create that layering effect, as mentioned previously. Which should end up looking similar to this one:

(I had to draw in most of Cloud's hand because I didn't have the camera mod back then, and the Sephiroth shot was provided to me by Coeurlwhiskers.) After that, it's a matter of shadows and highlights, remaining details, and finishing up the colors, etc. It's a long and difficult process, and can take many hours to complete, depending on how ambitious I get with it. Most of that stuff would be a much longer tutorial, and I did used to do some actual artwork a long time ago, so I...kind of know what I'm doing?? I probably do a lot of stuff the hard way(like not using layer masks) because I just don't have the time to teach myself more than the basics. 😅I know it may seem daunting, but it's really fun! I hope I managed to answer your question properly. Feel free to ask follow ups~

[jq37]

How do you rank the Rat Grinders in terms of "most want to be friends" vs "die"

Honorable Mention #1 spot goes to Lucy Frostblade who seems like an absolute sweetheart. Anyone who's doing the Cinderella thing w/ the local rodent population is worth befriending in my book. Hope you're resting in peace now girl. You would have loved Zayne Darkshadow and Edgar.

(1) Oisin: OK listen, I am aware that all Rat Grinders must be regarded with some level of suspicion but come ON. I want so so badly for him to be exactly what he's been portrayed to be--a hot buff nerd who is easily flustered by Adaine. Fig got a wizard girlfriend so Adaine should get a wizard boyfriend. That's just equity. Don't you believe in equity Brennan? Joking aside, I think it would be really nice for Adaine to have another someone in her life who thinks she's great and tells her that since she spent so long deprived of that and is just recently starting to get that from people. Anyway, would love another wizard paramour in the Bad Kid rotation.

(2) Buddy: Hear me out. This dude absolutely needs to be deprogrammed a bit but so did Kristen when we met her. And his heart seems to be in the right place. I think he could be a good friend if they approach this from the right angle/are interested in flipping him. Also I went to college in Alabama, alright? His southern charm got me.

(3) Mary Ann: I haven't really gotten a solid read on Mary Ann yet. Is she suspicious or worn down or just Like That? No way to tell yet. But she hasn't actually done anything wrong yet so she gets this spot.

(4) Ruben: I'm more suspicious of Ruben this week than last week after his performance turned about to be a secret ritual, and he's also consistently been shitty to Fig which I don't like. But I'm suspicious abut how much of that is his natural energy and how much of that is related to the rage god. He wasn't emo when he started, remember? He was all smiles and braces and acoustic guitar. People can just genuinely change for the worse but I dunno. Might be something there and the Bad Kids ally list includes SEVERAL people who should be in jail right now so you know. Open mind.

(5) Kipperlilly: Kipperlilly is frankly just more fun as an antagonist than as an ally lol. Like even outside of the point that they hate her to the point of refusing to properly say her name so friendship was never an option, it's just not the most fun route.

(6) Ivy: Choke on grapes, bitch. I hope she ends up in hell with Penelope. This is Fantasy High. You can be a murderer but you can't be RACIST.

Interested to hear anyone else's takes if their list is different!

[memorycycle]

post for @wuggen asked to see the code i wrote for simulating a realistic car engine so here

its built in godot btw

the script extends rigidbody3d cus im actually just moving an invisible sphere along the ground with a car basically stapled to it

did you know car engines put out different levels of torque at different rpms which affects like basically everything about the car. the torque curves are actually way more complicated than this, they kind of look like ramps with a hump in the middle followed by a dip followed by a bigger hump. but im just doing something that looks more like a perfect mound here. it works fine

i found the equation power=torque*rpm/9549.3 online from a forum where some guy posted the results of a dyno run on his porsche. the number 9549.3 is definitely specific to that porsche, so its probably a variable id want to be able to change later i guess

theres 2 big scary chunks of code here written by someone else which youre looking at in the pic above. i dont know shit about rotating and transforming 3d shapes so yea thanks guy on youtube

^this is basic shit but let me say one thing having the layout of accelerating with up on the right stick and braking with down on the right stick makes racing games so much more intuitive to play because suddenly it all just becomes one button that like the player understands in their mind as just "movement" and say for example when the player is coming up on a turn and they point both the steering and throttle joystick towards the turn whats happening is that they steer towards the turn of course but also they decelerate because the right stick is no longer pointed fully up in the Y direction, its Y value is now something like 0.7 instead of 1.0 because of the angle the stick is pointed in, that extra 0.3 went to the X direction , meaning the player automatically decelerates the car based on the angle of the turn without even having to think about it. if the turn starts to become more hairpin the angle is so great that the Y starts becoming negative and now braking is happening instead of acceleration automatically. its actually beautiful how simple and effective it is

^heres my cool function that does basically everyuthing related to the rpm. different gears rise and fall at different rpm speeds and it even simulates the effect of engine braking caused by releasing the throttle when shifting gears. it has so many fucking magic numbers from me just fiddling with it for like years trying to get the acceleration and shit to feel just right

^this ones mad complicated i commented every line

awesome gear shifting stuff its so fucking yummy because if u look closely in the video at the top u will notice i never use the brake to slow down. i downshift gears which causes causes the car to lose speed because the power it was giving out is less efficient now due to the lower gear ratio which also means the rpm jumps up to redline speeds which lets me instantly shift back up to retain some acceleration i cant tell u how satisfying it is to drive this thing and it feels like a real car

^and thats it thats the last function. 212 lines of code honestly pretty small tbh. theres still stuff missing like for example when a car is turning the rpm starts increasing at a slower rate due to things like centripetal force traction rolling resistance weight transfer weight load engine load steering angle friction but im probably just gonna end up calculating it only based on velocity * steering angle or something lol. if anyone made it this far i contratutle you i dont think anyone who isnt as obsessed as i am with this stuff could ever read this whole thing so thank u

[ahmadjonesblog]

Scene Recreation Exercise: Her (2013) by Spike Jonze

Original scene (starting at 0:59)

Recreated scene

Production documents:

For this final project, the team worked together to recreate a scene from the film Her. My contribution to this recreated scene was my work as producer (booking equipment), costume and prop department (searching for and purchasing the clothes for the character) and camera operator.

During pre-production on this project, I worked closely with the director to oversee his vision for the scene. We had a pre-production meeting in which we discussed the set dressing and costuming of the character, while I booked the equipment required for the scene. This close working relationship continued into the actual production itself, as I talked to the director discussing how I should move the camera in order to make it exactly like the scene.

The director, Alfie Malley, was fantastic to work with. Despite the constant challenges with shooting the scene, Alfie continuously made sure the team worked together so effortlessly. While he took charge of the production, he still allowed others to have their ideas, not being afraid to do multiple takes on a single shot in order to get it most like his vision.

Along with this, I worked closely with the DOP, Arthur Moss, who was also extremely capable. He assured that the lighting was accurate in all shots, breaking each light source down and coming up with creative solutions for how to give the same warm glow effect with the cold lighting equipment that we had on hand.

[A shot using the 35mm lens, with the lighting done expertly, and because the original scene was done with the same lens, it looks extremely accurate]

Without such a good team on board, we would not have been able to face the challenges on set. These challenges consisted of the size of the location. While the flat we filmed at achieved the appropriate effect we got from the scene, it was incredibly small, and we had to squeeze into locations, moving around furniture to create a completely different floor plan for a shot. At some instances, we had to move the sofa, for the dancing shot, putting the chairs in the background and rotating the sofas so they weren't in shot.

Another challenge we faced while shooting was the lack of variety of lenses. We only had the Sigma zoom lens 35mm due to the others being scheduled for maintenance, and while this worked for some scenes that were clearly shot with the 35mm, there are very clear discrepancies with some wide angle shots. With the use of all of available lenses, we would have been able to recreate the exact focal length of each shot, however without this we had to use techniques like false perspective and lighting to make it seem more accurate.

[A shot of the wide angle, without the lens the scene feels more constricted than it should, with warm lighting and the changed floor plan we did all we could to give it the same effect that the original scene has]

With all these challenges in mind, I believe we did a fantastic job at recreating the scene in shots and tone. The closeups especially worked so well, in lighting and in effect. I am so proud of how well the team did in the end.

[thetruearchmagos]

Oh my god I am late to this but~~

Okay, this, this all some very impressive stuff. There's a ton of angles I've been looking at this from, real 'rotating in brain like microwave' hours, so if what comes below is a little scatter shot that's why.

Alright, going to the pre-list stuff first;

Very, very happy to hear the prompting was useful! I do recall Hadria from the whole 'channel blocking' thing with the Espalans, nice to see they'll play a role themselves in the course of events. As for any Espalan operations, just my two cents, but I'd probably say that they wouldn't have had the neutral Hadrians as the main target of whatever incident they engineer, though they'd still wind up dealing a degree of collateral damage. Maybe something like a violation of Hadrian neutrality by some form of 'covert' action that was meant to hit an enemy target within Hadria's territory, or wider 'sphere of influence'.

------

Now, on to The List, and my small number of comments-which-mostly-aren't-critiques! I will warn you though, they are not well formatted...

Right off the bat, kudos to just getting that list to exist. Organising one's thoughts on the actions of a dozen nations across a whole continent is not easy, and you've done a good job of it.

We've been keeping this whole discussion fairly naval-focused so far, so I'll stick to that here. First off, I'm imagining that what you mean by the various Fleets 'moving' north, south, etc., was them moving into different bases and anchorages? Just a small thing, but I'd love to see them marked on your excellent maps! I have a strange fascination with naval bases and the stories and myths surrounding them, which might have something to do with how cool I find the name 'Scapa Flow'.

One thing I was curious about was how you separated the Espalan Western and Eastern fleet 'points' on the List. Did they embark on their [pre-planned?] movements at the same time, or did those of the Eastern Fleet really take 'that' long to begin? Also, about those negotiations, this feels like a great time to bring up the Montreux Convention so I'm going to do just that. Interesting international treaties like that are always fun, or so I say, and seems like one would fit here, if that's appropriate! Or if it's the sort of matter in Mortal Sparks that doesn't get mediated on in some sort of international forum, that'd be interesting as well.*

Ahh, no better way to start a war than blowing up a harbour! Just ask the British about Copenhagen, and the Danes weren't even at war yet. A more contemporary example would be the Imperial Japanese Navy's raid on... Port Arthur!** Not quite as successful as what would happen a few decades later, but that's what you get for not inventing naval aviation. Here in Mortal Sparks, at least, it might make for an interesting tactical scenario to play through.

Hmm, battlecruisers, you say? An interesting choice, I think, since the doctrine and theory behind that most controversial class of major surface warship depended heavily on the operating environment of the Royal Navy of the era when it devised them. Not bad ships, though I'm biased towards them on beauty alone, but there's a reason the theory didn't catch on all that much. Also, reminds me that I've been meaning to ask you what were the sorts of battleships that existed in MS, at least in a 'pre- vs post-Dreadnought' sense, and if a 'revolution' of that kind ever happened. So... I guess that question has now been asked? No hurry though, shame on me for just chucking that in there.***

Ah, Kostha! I think you've mentioned their Navy before, but now I think something's come to mind with them and that whole northern theatre with the Royal Republic and Ritanians. If I'm reading your maps right, and I'm sorry if I'm not, it seems like Kostha's main coastlines are all within the 'Polar circle', along with that body of water through which they can access the other two? If that is the case, well, life is going to suck for all involved. Naval operations in arctic conditions aren't untold of, but they are rare; I'd point to the Battle of the North Cape in WW2 as an example, and one which shows how very bloody hard it all is. Also, I was wondering to myself mostly how that kind of geography would impact the strategy and strategic policy of Kostha itself, what with their lack of a warm water port, along with the rest of their economy and society. Might have something to do with Naval stuff, might now, but either way I don't think there's a reason to dwell on it right now.

Oooo, you've got two battles in mind, now do you? Neat, twice the fun, more or less. Wonder how they go, and if and how the former influenced the latter, if you'd like to elaborate on it. Also interesting to think about all the stuff that'd go on in between battles... and I just remembered that I've returned the book I borrowed about Jutland. A shame, it had a pretty interesting part at the end which analysed how the respective fleets faired once they'd returned to port, and over the course of months repaired themselves with different degrees of success and speed. Anyhow, that was a strange tangent, moving on, and I'll end off by saying that I am very curious to know how either battle goes, and eager to help any way I can!

Well, well, well! It seems the Espalans have gotten what they wanted, but when I read that next to the first part of your post I'm a little sceptical. Very curious about the no doubt fascinating machinations behind all that, and I wonder if perhaps the Eastern Fleet would wish they hadn't been allowed to pass at all.

------

*Also kinda like how it works in the 12 Worlds. International bodies and treaties and such there are... complicated, but I've mostly got it down that the UC can be a little stubborn when it comes to giving a rat's ass about them.

**Did I get you there? Probably not, but I thought it might be funny. I am writing this eepy so my humour is buggered.

***Ah, crap, now that I'm done with this I realise I had another question that I can't fit in now. Basically, is there a particular reason you chose to specify 'Battlecruisers', and do you mean that Kostha sent a force of only BCs, and all of them they had, to battle?

Was doing some light reading on a defence blog I follow, when they mentioned a certain piece of naval lore which reminded me of Mortal Sparks, and our discussions on 'non-Big War' naval activities a nation might take.

This actually sparks a whole thought-train of mine in the course of the war! So I've been thinking a lot about Hadria and its relationship with the other nation-states during the war, and how Hadria's actions are really very important to the outcome of the war. Mainly being, due to Hadria breaking with Bresia and allowing the Republics to gain an early upper hand, the war is drawn out far longer than it might have been if Bresia had Hadrian support, or at least true neutrality.

I think as the war drags on, Hadria is undergoing its own shift in politics, and national sentiment is shifting to support the Republics over the Imperials. As a result, I think that something like this could happen between Hadria and the rest of the Northern Continent, as a horrible miscalculation on Espala's part that helps propel Hadria into the war.

Also, because I like making lists, I have decided to make a list of the major war events in the opening stages. Feel free to critique.

Cascade of War Declarations & Troop Musters

Espalan Western Fleet Moves North

Kostha Invades Niladal

Ritanian Fleet Moves South

Espalan Eastern Fleet is Stalled by Hadrian Negotiations

Sag Nel Raiders First Attack on Bresian Harbors

Kostha Battlecruisers and Royal Republic Fleet First Battle

Gresian Republic Invades Kostha

First Battle Between Ritanian Navy and Espalan Western Fleet

First Battle Between Kostha and Gresian Republic Armies

First Battle Between Royal Republic and Aslos

Second Battle Between Ritanian Navy and Espalan Western Fleet

Espalan Eastern Fleet Enters Strait of Hadria

[ohmystaxk]

Goodbye, My Dear Stranger (2)

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Pairing(s): (Jake Lockley x Reader) (Steven Grant x Reader, Marc Spector x Reader later on) [Pre-Moon Knight show]

Chapter Character(s): Steven Grant.

Content/Tags: Reader having creep tendencies, somewhat of a date (?).

Word Count: 3.3k

Summary: After meeting Jake, you decided to go to the Museum with a friend. There you meet someone that looks like Jake, but isn't him?

Two days had passed since the night you had met Jake at the café. Unfortunately for you, he had not come back again. Truthfully, you didn’t expect him to. Yes, you had hoped he would come by, order himself the same coffee he had last time and ask how your day was. Perhaps he would check up on you and ask if you had encountered the same guys from last night again. You hadn’t. Perhaps Jake’s little play pretend had worked.

Even when you wanted an interaction with the man, something told you it would not happen again. At least not anytime soon. He seemed rather reserved, since he had barely spoken to you. But then again, he seemed like a lonesome kind of guy. Yet another thing he seemed to share with your elusive neighbor. 

That night, when you got home, you noticed no lamps were on at your neighbor’s apartment. The following days had been just the same. You started to think that perhaps he had pieced the puzzle together and realized it wasn’t the first time you were a creep that spied on him. Just the thought made your insides turn and your palms sweaty. Young adult spies on their older neighbor. You could see the headlines in your head. 

“You there?” You blinked a couple of times. A face appeared in your field of view, accompanied by a waving hand. It was Deanna.

“Sorry, what?” You asked her and she tilted her head to the side.

“You were gone for a second there. You alright?” She placed her bag on the bench next to you. Deanna turned her body towards you as she sat down on your left.

“I was just thinking. Did you say something?” Deanna nodded with a short sigh.

“Sure did. I’d like to go down to the gift shop if you don’t mind. We can also go down to The Green Wall, see if Martha will get us something to eat after we are done here, yeah?”

Today you hadn’t worked at The Green Wall, the name of the coffee shop. And so, Deanna had asked to go to the Museum down the street from the shop. Neither of you had even been there and wanted to check out the new exhibit they’d been advertising with massive banners outside the building. The concept seemed fun and it wasn’t like you often went to those kinds of places.

The two of you wandered and looked around for about an hour and half. The place was beautiful, tall white walls, some ceilings had skylights allowing for better visibility, and the floor had polished marble tile on the main area. They had a lot of Egyptian artifacts and replicas, paintings, and displays that showed videos of reconstruction of what Egypt could possibly have looked like back in its glory days. It was nice to go out and do something differently than going home and working on your laptop, or watching shows for hours.

“Yeah, sounds good.” You answered. “I might get something from the gift shop too.” Deanna nodded with a smile. 

“I saw some cute plushies on our way in. Come on.” She stood up and you followed.

The two of you made your way to the gift shop as Deanna showed you some of the pictures she’d taken when exploring the place. They all looked good and she was trying to decide which ones to post on social media, debating between two pictures that looked the exact same.

So when you walked in, you both were staring at her phone. You pointed at one that had a replica of The Great Pyramid of Giza, the angle and the lighting worked great. When Deanna got herself entranced by her phone, you decided to take a look around, the first thing in front of you was a rotating metal display with postcards.

Most of the pictures were of Egypt, others of the Museum, and a couple of London. You took one in your hands, the photo had the pyramids with a low sunset in the background. It was beautiful. You looked at the rest of the photocards that might catch your attention, it was a voice that caught it instead. You looked through the display and towards the check-out counter.

At the register was none other than Jake. No hat and no low lighting to obstruct his face from the world. You felt your gut flutter with sudden surprise, and reached for Deanna who was still on her phone.

“What?” She looked at you when you tapped her arm.

“It’s him.” You simply said, your eyes wide. You felt your cheeks flush as you looked towards Jake who was with another client at the moment.

“Who is it? Is it the guy from the bad date?” She asked with interest.

“No, the guy from Green Wall.” Deanna’s eyes widened with disbelief.

“One of the fucking dickheads?” You looked at her with a frown.

“What? No. The one that helped me. His name is Jake.” Her expression softened.

“Oh so that’s the lad, yeah? He seems pretty nice and all. Won’t you go and say hello, then?” Deanna shoved you gently, an encouraging smile on her face.

“You know I can’t.”

“Of course you can, love. The man over there doesn’t look like he bites, go on then.” You sighed and tightened your grip on the postcard.

You started walking towards the counter once the clients had left. Your hands grabbed three things at random and made your way towards him.

Once in front of him, he looked up at you. He had a friendly smile on, it seemed genuine and that eased your nerves. In reality, he had a rather pretty smile; warm and inviting.

“Hello there, you found everything?” He said and then you frowned. You remembered him having an accent, just not an English one.

“Y-yeah.” You then placed the items on the counter, not looking at them. 

He nodded and started scanning. He looked at you through his lashes. His eyes were soft, not deep or distant like last time. There were eyebags under his eyes, his hair was disheveled, and he had a shadow of a beard. He looked completely different from that night. A hot mess you would dare to say. 

“Did you enjoy the tour?” He spoke and you blinked.

“We didn’t take the tour, we just explored by ourselves.” He nodded and placed your items in a bag.

“What were your thoughts? Having, well, not much to go on from.” He then leaned forward just a little, like he was about to hear a secret.

“I liked it. I’d rather do things at my own pace. That way I get to enjoy things and take the moment all in.” He seemed to light up as you said that, a smile formed on his lips again. He had very nice lips.

“That’s good to hear. I hadn’t thought about it that way, you know, the whole no-tour thing.” Yes, Jake didn’t have an English accent. It was then that your eyes fell on his name tag, ‘Steven’.

“You should try it, it’s always nice if you enjoy doing things by yourself.” He nodded again, and he stared at you for a couple of seconds.

“I will. It seems fun. Not like I don’t already do it.” He smiled, he liked to smile, and not forcefully. It was something different. Steven was different. And you liked that. The man was attractive despite his current state.

“Would you like to go out for coffee or something later?” You felt the air leave your lungs the second you uttered those words.

This wasn’t like you. You would never ask a complete stranger out for coffee, or for anything really.

“Sorry?” He seemed just as shocked as you were with a slight tint on his cheek. You opened and closed your mouth like a goldfish.

“I’m sorry, I don't know why I said that. That was so inappropriate, I’m really sorry.” You pull out your wallet and look at the register, the total displayed for you. You placed the amount on the counter.

“No, it’s just. I wasn’t expecting that. Has never happened to me before.” He confessed to you, he seemed genuinely surprised and that made you feel less guilty of pretty much having thrown yourself at him.

“I have never done that, if that helps.” You gave him your name, he smiled and said it out loud. It sounded nice coming from him, you realized.

“Steven.” He pointed at his name tag. “I would love coffee. Tea preferably, I have to admit.”

“Right, well, there’s a coffee shop right down the street by the plaza on main. It’s called The Green Wall.”

“Oh, I know that place! I go there sometimes before work, their tea is truly something else.” His smile got bigger, showing his teeth.

“Well, what about tomorrow? Seven p.m.?” When you asked he nodded enthusiastically.

“It’s a date.” He said and then his smile dropped. “Is it?”

“Sure.” You gave him a smile and he handed you the bag.

“Well then, see you tomorrow night, yeah?”

“Yeah.” You offered him one last smile before slowly turning away. He had smiled before, yet it didn’t seem to compete with how giddy he looked as he smiled at you. 

You waited outside the gift shop for Deanna to finish browsing. Every so often, you would stare back into the place to see Steven, taking the time into paying attention to his mannerisms, the way he would emote. You felt like a freaking stalker, but it was impossible for two people to look that alike, right? Your only interaction with Jake had been brief. But, even then, you could tell he was nothing like Steven, and Steven seemed nothing like Jake. Two polar opposites in the same city, in very close proximity to each other. 

Jake had mentioned going back to work. You recalled his attire. Either the man liked dressing like somebody's old grandfather who drove cabs for a living, or he actually was a cab driver and dressed as such. Then, there was Steven, a very tired-looking gift shop employee at a Museum. Neither of them seem like the owners of a big flat in downtown London. Unless they had other jobs, just like you did in order to provide for your way-too-small flat. Perhaps, the two were twins and were raised differently, Jake coming from overseas and staying at Steven’s.

Once you and Deanna had made it to Green Wall, it was already night time. You had been shopping around the plaza and getting coffee was the last stop for the night. The two of you said hello to Martha and Rose, the ones working today’s closing shift. The Green Wall ended up getting busy today, people came and went as there weren't many empty seats. Luckily Deanna had snatched a table the second a couple had left.

The door swung after a few minutes and eyes shifted towards the noise it made, more of a reflex than sheer curiosity. Steven had wandered in, his eyes looked at the busy place as he tried to make his way inside. He stood by the register as Martha was taking another order, he fidgeted with the strap of his bag, his shoulders  were upwards and closer to his jaw, and his eyes gazed around, as if to busy himself. Steven looked nervous, perhaps even overwhelmed.

“Isn’t that tomorrow’s date?” Deanna spoke from beside you.

“Yeah. His name is Steven.” She frowned at your response.

“Wasn't it  Jake?” You shook your head.

“I think Jake and Steven are brothers.” 

“Then why ask him out?” You shrugged.

“He seems nice enough. That, and he’s cute.” Deanna shoved you playfully as she pointed at Steven with her chin. You got the message and stood up, making your way towards the man.

Once the two of you were at a good distance, she spoke up gently, not wanting to startle him. 

“Hey there, stranger.” Steven turned to look around, his gaze landed on you.

“Hey, a bit busy, innit?” You nodded.

“More than usual. Probably has to do with that new exhibit of yours.” He frowned, tilting his head in confusion. “The museum.”

“Oh, right! Yeah, of course.” He slapped his forehead playfully, looking around. “At least there’s good business today. Place deserves it.” Steven looked back at you.

“Thanks. We work very hard to make everything as good and fresh as possible.”

“Do you own the place?” His eyes widened. You laughed, slapping his shoulder gently.

“No, no. I work here, just not today as you can see.” Steven nodded slowly as you spoke, his mouth forming an ‘O’ as he let out a quick laugh. “Do you want to sit down with me? While you wait, in case you have somewhere else to be.”

“Only place would be my flat, I think Gus can wait a bit.” Steven said and you raised an eyebrow. “My goldfish, he has one fin.”

“Like Nemo?” Steven laughed at that. A hearty laugh that showed you his teeth.

“Just like him, little fella is very special to me.” You couldn’t help but laugh back.

“I bet he’s one lucky little guy.” Steven stared at you again, he seemed to do that a lot. You were not used to it. Then, his eyes softened and creased at the corners as he smiled. He had pretty lashes, long and thick, his eyes doe-like as the warm lighting shined on them.

The sound from the music on the speakers faintly seeped through your ears as time went by.

Take me out tonight

Where there’s music and there’s people

And they’re young and alive

“Yeah, he is.”

Driving in your car

I never, never want to go home

“Are you two ready to order?” Rose spoke suddenly. The two of you turned towards her. From the way she grinned at the two of you, you knew she was having a laugh. You rolled your eyes at her.

Because I haven’t got one

Anymore

“I’ll go and sit down.” You placed a hand on his back gently before walking towards the table you were sharing with Deanna. 

Deanna eyed you with a smirk once you sat down. “What was that?”

Driving in your car

Oh, please don’t drop me home

“Rose decided to interrupt us.” You responded.

“I know she did. Poor lad had heart eyes and all of that.” Deanna started gathering her things. You raised an eyebrow at her and she scoffed. “You’ll need another chair, unless the man offers his lap for you.”

“Thank you, Deanna. Let me know when you get home.” The woman bent down gave you a quick hug. You hugged her back.

Because it’s not my home, it’s their home

And I’m welcome no more

“Sure thing. Don’t forget to tell me how things go, yeah?” You nodded at her, she waved at you as she left your table. She walked through the dining area, waved goodbye at Martha and Rose, then she left the shop.

Steven came back a few minutes later. He smiled nervously as he gestured at the now empty seat. You nodded at him.

“Did your friend leave already?” He asked as he sat down, placing his bag on his lap. He looked around one more time.

“Do crowded spaces make you anxious?” You asked him with curiosity as you took a sip of your drink.

“No. It’s just that I’ve never stayed long enough to take a good look at the place.” He was still looking around, his eyes filled with awe.

“You seem to like it.” You placed your drink down. Once again, his eyes found yours.

“I do. It’s rather pretty here, and it feels cozy.” He admitted to you with a sheepish smile.

“I think so too, but this isn’t better than the museum.” When you said that, you had said it in a playful way. However, he shook his head with a frown.

To die by your side

Well, the pleasure, the privilege is mine

“The museum? No, no. I love the museum, yes. But the employees are much nicer here, I have to admit.” When he said that last sentence, he grinned at you and you rolled your eyes with a smile.

“Don’t think that’ll get you a free drink, sir. Are your coworkers not nice?”

“Most are, some barely notice me. Then there’s my boss Donna who makes me stay overnight almost every night, she also calls me Stephen.” He gave you a tight smile, his eyes shifted to your hands when your fingers rubbed the side of your drink in a distracted manner.

“You can always stop by and fill out a job application.” You offered. 

“No, no, it would be a mistake to hire me here. I would end up setting the place on fire somehow.” The two of you laughed. The conversations around you seemed to dissipate as you both kept on talking.

Take me anywhere, I don’t care

I don’t care, I don’t care

“Well, I think you would make a great barista, you just haven’t tried.” As soon as you said that, you heard Martha call out an order, to which Steven turned around immediately.

“That’s mine. I’ll be right back” Steven got up from his chair, placing his bag down on the chair and walked towards the counter.

Steven behaved like he was dreading something would inconvenience him along the way. His shoulders held tension while he dug around one of his front pockets. As he received his drink, you saw Martha smile at him and he gave her a quick nod. You didn’t know if he smiled back, but the slight quirk on his lip as he turned around to walk back towards you, told you he might’ve.

And in the darkened underpass

I thought oh, God, my chance has come at last

The soft light of the café showered him. Brown skin glowing a honey gold, soft messy curls that seemed chocolate brown instead of black, and full lips with a hint of pink. His clothes, loose and big, hid his frame under layers of funky prints and fabric. 

By the time he returned, the tension on his body was gone. His long lashes shined under the light and his eyes seemed to twinkle when he smiled nervously at you.

“Everything alright?” He spoke, taking his seat once again.

But then a strange fear gripped me

And I just couldn’t ask

Then it hit you. 

This was the man who you’d been spying on for the past month. The man who you would unconsciously await to see turn on his light at night, and then you’d watch him read by the table. Unbeknownst to him, you had formed a routine around his schedule, a parasocial behavior with a man you’d never met before. Something a creep would do. Something you did.

You couldn’t talk to him. You couldn’t get to know him. 

“Yeah, sorry.” You grabbed your bag. “It was nice having a little chat, Steven. I have to go now. I was out all day and I have to work tomorrow.”

“No worries. Do you want me to walk you to the tube, or to a cab maybe?” He was about to stand up, but you shook your head.

“It 's alright. The stop is not that far from here. And you just got here. Enjoy your night, Steven.” You stood up and felt your heart tighten when Steven spoke.

“Thank you, love. Be safe on your way home, yeah? I’ll see you tomorrow?” He was smiling so warmly at you.

“I’m afraid tomorrow will be just as busy. Maybe another day. I’m sorry.” Steven shook his head this time.

“Don’t be. I understand now that I see how packed it gets in here. I hope we get to know each other more another day. Stay safe.”

Oh, there is a light that never goes out

There is a light that never goes out

“Goodbye, Steven.”

That night when you got home, you moved your workspace away from the window and back to your bedroom. From the gap between the drapes, you saw a light turn on from his apartment. You pulled the fabric shut.

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[bloody-bee-tea]

Low

Inspired by this art on Twitter, even though it has nothing to do with Mingcheng.

When Jiang Cheng opens the door and comes face to face with Nie Mingjue—and only Nie Mingjue—he fights the urge to slam the door in his face.

“Where’s Huaisang?” is the first thing out of Jiang Cheng’s mouth and he scolds himself for it, for being rude like this, but Nie Mingjue just renders him stupid whenever he sees him and usually it’s Nie Huaisang’s job to make sure Jiang Cheng maintains a sliver of his sanity.

But Nie Huaisang is not here and so Jiang Cheng’s sanity flew out the window the second he laid eyes on Nie Mingjue.

It’s a problem, Jiang Cheng will admit.

“He’ll be late, but he didn’t want me to wait for him,” Nie Mingjue says with a slight grimace. “I can—wait outside?” he asks as if Jiang Cheng would honestly kick him out.

“Don’t be stupid,” Jiang Cheng grumbles and steps aside to let Nie Mingjue in. “As if I would let you just wait outside.”

He might get increasingly stupid when he’s around Nie Mingjue, which more often than not leads to him being rude, but he’s not that rude. And besides. Just because Jiang Cheng can’t form a coherent sentence when he’s around Nie Mingjue doesn’t mean he doesn’t like to look at him.

“Thanks,” Nie Mingjue awkwardly says as he steps inside and Jiang Cheng realizes that for all that he knows Nie Mingjue just as long as Nie Huaisang, he can’t say they are friends.

They know each other and they have spent an insane amount of time together but Jiang Cheng wouldn’t call them friends.

Jiang Cheng doesn’t have friends that make his heart beat wildly away in his chest and that make his stomach swoop with just the hint of a smile and that shut his higher brain function off with just a look.

“You want something to drink?” Jiang Cheng asks, walking away towards the kitchen, where he gets back to preparing the food for that evening.

They’ve been doing these movie nights for years by now, always rotating between their places, and today it’s Jiang Cheng’s turn, so he has to provide dinner while Nie Huaisang and Nie Mingjue bring snacks and drinks.

It’s a tested method.

“I brought drinks,” Nie Mingjue says and lifts the bag he carries in his hand. “I’m good.”

“Alright,” Jiang Cheng shrugs and tries to pretend that he didn’t just got hot under the collar watching Nie Mingjue’s biceps move like that.

He sharply turns away, but he still hears Nie Mingjue open a can and Jiang Cheng does his best to ignore the fact that Nie Mingjue is probably watching him.

That thought is not doing anything good for his heart after all.

It works for about five seconds, until Nie Mingjue decides to pull out one of the chairs from the kitchen table and sits down and then Jiang Cheng is hyper-aware of his every movement.

“You’re just going to watch me cook?” Jiang Cheng snaps, because it’s what he does when Nie Mingjue makes him nervous like this and he can see Nie Mingjue shrug from the corner of his eye.

“I doubt you’re going to let me help,” Nie Mingjue replies and Jiang Cheng sighs.

He’s right. If it’s Jiang Cheng’s turn to cook, then it’s Jiang Cheng’s turn to cook and he doesn’t actually like it if people interfere with his work.

He knows what he’s doing in the kitchen and he doesn’t need any more hands ruining his carefully set out plan.

Instead of giving Nie Mingjue a verbal answer, he simply huffs, which causes Nie Mingjue to chuckle and Jiang Cheng to die on the spot.

Someone as tall and broad and buff as Nie Mingjue has absolutely no business being this adorable too, and Jiang Cheng curses every god he knows for making Nie Mingjue this perfect.

And unattainable for him.

“Well, you’re right with that,” Jiang Cheng finally says, because he fears that otherwise he’s going to choke on all of his feelings and he tries to concentrate on the food in front of him.

He is done with most of the preparations, but Nie Mingjue is a little bit early and so Jiang Cheng didn’t actually yet get to the cooking part of dinner.

“You mind if I stay here?” Nie Mingjue asks him suddenly, as if he didn’t already sit down anyway and Jiang Cheng rolls his eyes.

“Bit late to ask that now, huh?” he gives back but then he shrugs. “I’m not actually going to ban you to the living-room and make you sit alone until I’m done or Huaisang shows up,” he then tells Nie Mingjue. 

Nie Mingjue settles a little bit more firmly into the chair, clearly absolutely ready to watch Jiang Cheng get to work on the frying and stirring part of dinner and Jiang Cheng is surprised to find that his hands are shaking.

He can’t remember the last time Nie Mingjue was watching him this intently, without any distractions around and Jiang Cheng is not dealing too well with it, it seems.

So instead of getting started immediately, Jiang Cheng takes his time to get his apron out. There’s a split second where he thinks that Nie Mingjue will make fun of him for it, and Jiang Cheng is not actually sure if he could take that, but then he shakes that off. 

The apron was a gift from his sister and there are little puppies on it and Jiang Cheng always wears it when he’s cooking. He’s not going to change that for Nie Mingjue, incoming teasing or not.

Jiang Cheng’s shoulders are already tense when he puts on the apron, but to his surprise, Nie Mingjue stays quiet. 

He dares to dart a look over his shoulder, and Jiang Cheng is surprised to see that while Nie Mingjue is still watching him, he’s also clenching his jaw and keeping quite the tight grip on his can.

Jiang Cheng frowns but he can’t bring himself to ask, doesn’t want to find out if there’s something in what he’s doing that’s upsetting to Nie Mingjue and so instead of opening his mouth, he ties his hair up.

He likes it tied up and out of his face when he actually cooks and it’s a practiced enough move that it barely takes him a few seconds to be done with it.

There’s a beat of silence when Jiang Cheng takes a breath to center himself and to sort out all the steps he has to do now in his head but then suddenly Nie Mingjue speaks up.

“I swear I’m gonna marry you some day,” he whispers, just low enough for his voice to still carry over to Jiang Cheng, and Jiang Cheng is pretty sure he wasn’t meant to hear this, but he did.

And it freezes him right up, even as he goes hot all over.

Jiang Cheng is pretty sure that his brain is shut off because he can’t form a coherent thought, but something else takes over. He turns around, leaning against the counter and crossing his arms in front of his chest, as he eyes Nie Mingjue, clearly looking much more composed than he actually feels.

Nie Mingjue’s face is white and his eyes are big and Jiang Cheng realizes that maybe he didn’t mean to say that at all.

But it’s out there now, and Jiang Cheng is actually going to roll with it.

No matter how nervous he is, and how fast his heart is beating or how sweaty his hands are and how much he’s screaming inside his own head.

“Excuse me? Don’t you think you’d have to ask me out first?” Jiang Cheng asks him and he congratulates himself on how put together he sounds.

Even though he feels like he’s going to vibrate right out of his skin with excitement.

Nie Mingjue’s eyes go even bigger at that question but he keeps quiet for a worryingly long time. Long enough that Jiang Cheng starts to shuffle his feet and he wonders if it’s too late to cite an emergency and simply run out on Nie Mingjue.

Before Jiang Cheng can decide to do that though, Nie Mingjue moves.

He slides off the chair and before Jiang Cheng can panic that maybe he isn’t doing well and this is a medical emergency, Nie Mingjue goes down on one knee.

Then, Jiang Cheng panics for entirely different reasons.

“Mingjue,” he gets out, his voice now definitely coloured with panic but Nie Mingjue shakes his head.

“Wanyin,” he says, and Jiang Cheng breathes just a little bit easier when he hears the slight tremor in Nie Mingjue’s voice. “Will you go out on a date with me?” Nie Mingjue asks him and it takes Jiang Cheng a moment to realize that it’s not actually the marriage question, like he feared.

But it seems to be a moment too long.

“What the fuck is happening here?” Nie Huaisang suddenly says from the doorway and Jiang Cheng jerks at hearing his voice.

Nie Mingjue doesn’t fare much better, because he shoots upright fast enough to nearly topple over his chair.

“I leave you alone for five minutes, to give you time to figure out your shit and you propose?!” Nie Huaisang screeches and this whole scene is ridiculous enough that Jiang Cheng starts to laugh.

It seems to dissipate the tension entirely, because even Nie Mingjue chuckles, while Nie Huaisang continues to look scandalised.

“No one proposed, Huaisang,” Nie Mingjue finally says, but he can’t quite seem to bring himself to look away from Jiang Cheng. 

“You were down on one knee!”

“It was situational,” Nie Mingjue tries again, still looking at Jiang Cheng, who is slowly blushing with having Nie Mingjue’s attention for so long. “I was actually asking him out.”

“And what did he say?” Nie Huaisang asks and he sounds so eager that Jiang Cheng has to laugh.

“I didn’t say anything, cause then my boyfriend’s annoying younger brother ruined the moment,” he says, keeping his eyes on Nie Mingjue, too, and so he sees the moment the words register with him.

“Boyfriend, huh?” Nie Mingjue asks and it only takes him two steps to cross the room and put his hands on Jiang Cheng’s waist.

“Boyfriend,” Jiang Cheng nods, trying to sound much more firm than he feels, because his heart is definitely trying to beat right out of his chest at the moment and he feels jittery with happiness.

“I like how that sounds,” Nie Mingjue lowly says and he leans down, brushing his lips over Jiang Cheng’s cheek.

“You better,” Jiang Cheng gives back, angling his head to give Nie Mingjue better access. “Because there’s no getting rid of me now.”

“As if I would ever want to,” Nie Mingjue breathes out and then finally, finally claims Jiang Cheng’s lips in a kiss.

“Is this what I get for plotting this?” Nie Huaisang asks from somewhere behind them and he sounds so thoroughly scandalized that Jiang Cheng has to break the kiss to laugh against Nie Mingjue’s lips.

“Your brother is a little pest,” he conspiringly tells him and Nie Mingjue only nods, too busy peppering Jiang Cheng’s face with kisses.

“You’re both so rude,” Nie Huaisang complains and Jiang Cheng can’t be sure, because he can’t bring himself to look away from Nie Mingjue but he thinks Nie Huaisang just stomped his foot. “Still, if one of you goes ring-shopping, I want to be asked to come along.”

“You’re getting way ahead of yourself,” Jiang Cheng tells him over Nie Mingjue’s shoulder, his hands gripping Nie Mingjue’s waist hard when he lightly nibbles on his jaw and Jiang Cheng has to admit that his knees might just give out at any moment now.

“Mh, I don’t think he is,” Nie Mingjue says into his skin. “I’m definitely going to marry you some day.”

“Mingjue!” Jiang Cheng can’t believe what he’s hearing, but he can’t deny that a tiny part of himself already wants to say yes.

He hopes the day is not too far off in the future.

Link to my ko-fi on the sidebar!

[mathysphere]

All righty, let’s watch some sausage get made!

I managed to dig up all four of the WIP pixel art files for the Chemistry Sampler, with the oldest dating back to Dec 2018-- three years ago, now!-- and with them, loads and loads of old sketches, rejected ideas, and half-finished panels. So if you’d like to come with on a lengthy-- lengthy!-- dive into the process of making a 16-part sampler, click below!

(I’m not kidding, though! This got long as hell!)

I’m going to go through the sampler panel-by-panel, in the order they were first conceived, but that is not at all how the actual design process went. One doesn’t work on a single panel, finish it, and then move on to the next-- instead, it’s all working on every panel all at once, jumping from here to there, trying to make each piece look good on its own and also look good as part of a whole. I also started and stopped working on the sampler at least three different times over the years, which meant even more changes as my style and abilities altered over time. But for ease of organization, I’ll be taking things one panel at a time. So, from the top-! 🎬💥

The Test Tubes were the first panel sketched, with no specific color in mind, and the original composition didn’t change a pixel all the way to the end! The colors, however, changed constantly: I remember for a while they were mostly neutrals, but once I knew I wanted to have a yellow pencil, orange bottle, and some brown cookies in the other panels the colors of the test tubes changed to match.

When I went to stitch the sampler, this was the panel I started with: since it uses thread from every single color family in the sampler (except for the two blues), I figured if I could find threads that worked well together here, they’d look good everywhere else, too.

The Microscope was the second panel sketched, and it didn’t change too much, either. The very first sketch was wicked flat, and imho flat = boring, so I rotated it around to put it at an angle and give it some more depth. I later decided to put a little molecule model (ethanol-- looks like a cute little puppy) next to it to help fill out the space. There is also a full-panel picture of another molecule model elsewhere in the sampler, but by the time I decided to include that panel this one was both already completely designed *and* completely stitched, so it was a little late to change the molecule to something else. And anyway, I like the little guy! So I’m glad he stuck around. :)

The Periodic Table was the no. 1 absolute must-have for a chemistry sampler, but it also posed a unique challenge in that it was the only part where the size was out of my control: if I made each element 2x2 squares they wouldn’t all fit in the panel, so they had to be 1x1-- but that left a huge amount of empty space around them. My solution: placing the table inside a classroom, as a poster.

The first classroom draft doesn’t read well (is that a kitchen sink??) and the second one was even worse. I liked the idea of including larger squares for the elements, but drawing them that small and at odd angles made them hard to identify even as pixel art, and as a general rule of thumb fine details are always *less* distinct in the stitched version than in the digital pattern. Version three is much better: you can see multiple workstations and stools, making it clear that it’s a classroom space, and the repeated diagonal lines give it a nice sense of dimension. That’s always a good thing. 

(Confession: on its own, I like the rainbow color palette better than the final one, but aside from a tiny bit in the volcano panel this was the only part that had any green at all. Next to all the blue and orange panels the green looked out of place, so for the sake of the larger, cohesive whole it had to change.)

The PPE was the reason this sampler ended up so blue! I liked the first sketch, and the first colors, so I started using the same two sorts of blues to sketch out other panels. Made a few small changes to this one later-- added another glove-- but nothing major.

The Molecule Sketch also didn’t change much, except that it started off *really* messy and was constantly tweaked to be a little cleaner each time I came back to the sampler after a break. Turns out it’s hard to draw a pentagon on a square grid! In the first sketch younger me tried to use antialiasing to smooth out the corners-- see the pale grey parts along all the diagonals-- but nowadays I would consider that extremely bad pattern design. Yeah, it’d make the lines look better when stitched on white fabric, but on dark fabric the pale parts would stick out like a lightbulb and the whole effect would be ruined. 

I also eventually added a little backstitching detail, since somewhere between 2018 and 2020ish I finally got over my irrational fear of designing with backstitch. Baby steps! 🙏

The Boiling Flask started life as a closeup shot of a bunsen burner flame + some tiny bubbles, but after a little while I figured that the water was more interesting than the flame. Plus the silhouette is clearer!

We’ve already seen where all the blues came from, which means it’s time to bring in the oranges!

Jupiter in a Bottle is, along with the PPE, one of the two panels that set the tone for all the others. There were about three seconds where I thought I’d try for a pale, crystalline effect for it, but I quickly switched to something brighter and rounder. At that point the chem sampler looked roughly like this:

…so, ah, not very promising, but I remember thinking ‘well, if nothing else, at least I’d have fun stitching the goggles and the orange one”. So since I was sure I wanted to keep those two, all of the other squares ended up being designed around them and borrowed a lot of their colors.. In the end I decided to go all-in on the oranges and blues, and, well, I think it worked out nicely! :)

This little bastard was The Reagent Cabinet, and it’s one of the panels that eventually got cut! It was a very early introduction, and stuck around almost all the way to the finish. I didn’t ever like it, though: it’s not very interesting, not very beautiful, and if I had stitched it it would have been the *only* full-coverage panel in the entire sampler, and so would have looked very out-of-place and heavy compared to the rest of the design.

Still, it technically fit the color scheme, and technically the theme, too, so I didn’t actually have the guts to chop it until I went to export the image and start stitching. At that point, dreading the idea of laboring over an entire full-coverage panel of a design I hated, I finally deleted it and started stitching everything else anyway, just with a giant empty hole in the corner of the pattern. I figured “well, I may be burnt out on designing for now... but once I’ve been stitching a while I’m sure the spark will come back, and I’ll think of something to fill the space”. And so it did, eventually!

The Cookies, however, are a panel that I’ve loved from the beginning 🤎 I wanted to include a nod to ‘everyday chemistry’ alongside the more ‘serious’ designs; a carryover from the math sampler, in a sense, with its bees and shells. 

These particular cookies are based off of my Mom’s chocolate chip cookies, which are kind of sort of like this recipe, but better somehow, and made out of old Y2K surplus that she bought off a disenchanted ex-prepper. Somehow the 20-year-old powdered peanut butter just hits different...

The Billowing Liquid was a effect that was, at least at the beginning, too far above my pay grade: I knew I wanted ‘some kinda sick-looking swooshy liquid effect, like in VFX reels or something?’, but that’s, uh, not a very concrete concept. I ended up realizing I was thinking of an ink-in-water effect, so from that I was able to look up reference vids and start sketching out some actual shapes. I added a little fizz on top, too, for extra effect-- and I think it did end up looking the way I originally envisioned it, even if I didn’t have the words or the skills to capture it back then! 

Another cut panel! This one’s the Alchemical Equipment: the idea was that hey, the modern science of chemistry is descended from the mystical practice of alchemy, so wouldn’t be cool to put a nod to alchemy into the sampler? Also alchemical symbolism is wicked cool. ⁽ᴬˡˢᵒ ᵃˡˢᵒ ᵐʸ ᶠʳᶦᵉⁿᵈ ʰᵃᵈ ʲᵘˢᵗ ᵍᵒᵗᵗᵉⁿ ᵐᵉ ᵗᵒ ᵖˡᵃʸ ᴺᵃⁿᶜʸ ᴰʳᵉʷ: ᶜᵘʳˢᵉ ᵒᶠ ᴮˡᵃᶜᵏᵐᵒᵒʳ ᴹᵃⁿᵒʳ ᵃⁿᵈ ᶦᵗ ʷᵃˢ ʳᵉᵃˡˡʸ ᵍᵒᵒᵈ⁾

I tried a couple different takes on this panel, and I still like both of the last two a lot, but in the end they didn’t fit at all with the rest of the sampler, so! For the good of the whole ✂

The Atom is one of the few where I still had my very, very first sketch saved! 😆 Normally I don’t save these-- I’ll either start cleaning up the sketch on that same layer, or will delete the sketch once I’ve got a first draft started-- but not for this one, or for the next two with it!

After the jump from sketch to first draft, this panel didn’t change much: I just added in the nucleus and made some of the curves less jerky and more smooth.

The Glassware Collection was sketched at the same time as the atom, so you can see its original iteration too! The biggest challenge here was to figure out how I wanted to handle the transparency of the glass: all the other glassware in the sampler was filled with something or other, and I debated whether or not to fill in these beakers and bottles too, with either plain white stitches, or grey, or both. In the end I stitched a bit of white shine on each bottle as a highlight, and left the rest of the space empty. Straight up, on my fabric it’s hardly visible at all, but I made some mockups and found that if someone were to stitch this same panel on black or dark fabric, then this version would look way better than one with the bottles filled completely with stitching. So it may not make my version look any better, but hey, for somebody else someday it will. :)

The Volcano is a kid’s chemistry classic! I toyed briefly with the idea of doing one of the other classic childhood experiments: red cabbage pH tests, or the rubber egg, but none of them are as instantly recognizable as the vinegar-and-baking-soda volcano, I think. 

The Element of Carbon is a spinoff from that one rejected periodic table idea! This panel was one I made right after returning to the project after a long, long break. To get back into the swing of things I went through a bunch of my old discarded prototypes, and discovered that there were some good ideas hidden in there: they just needed to be fleshed out more, and given their own space to breathe.

Also, in the time since I started this design I finally learned how to do a french knot! At long last, I’m a real cross-stitcher 🏅

The Bunsen Burner was made right before I started stitching the sampler: at that point I had the color scheme just about figured out, and most of the panels most of the way done, and there were only two or three spaces left with no design or a soon-to-be-cut filler design. At that point I reached out to a friend of mine who had studied chemistry in college and asked them for some feedback, and they helped me tighten up the design a lot! This is when the alchemy panel finally got the chop, and in its place the bunsen burner came back: now zoomed all the way out, for easy visibility, and with a pretty new shine effect up top.

The Centrifuge was the other panel my friend recommended-- and Evan, if you’re reading this, thanks a million! This one was an easy breezy design to make: pleasant shapes, an interesting subject, and lots of ovals. I do love a good oval.

This panel and the one before it came together *fast*: I was trying very hard to lock down final designs so I could lock in final colors so I could lock in a final arrangement so I could finally, finally, start stitching. I figured if I could get the sampler to the stitching phase then the ball would at last be rolling fast enough that I wouldn’t be in danger of abandoning the project again-- a pretty bold hope, given that I was more than two years and several abandonments in, but hey, I was still hoping! 

One problem: this is the point when I finally cut the reagent cabinet, so, while I *had* finally gotten to the stitching phase, I was still only stitching 15/16ths of a pattern. Enter:

The Molecule Model

The final panel! I had hoped to come up with a suitable final idea in the process of stitching the sampler, and it took a hell of a long time to get there: I believe I had all the panels started, and a few of them finished, even, by the time the idea for this one rolled around. I was working, then, with a fixed position for the panel, along with a fixed color palette, but if anything those constraints made designing it easier. I just picked an interestingly-shaped molecule (theobromine, found in chocolate and tea), built it in MolView, spun it around until I got a cool angle, sketched it, and bam! Final panel complete!

…minus a mountain of tweaking, of course. All the other panels had had months to get their rough edges ironed out, but for this one I just kept the file open as I stitched, fixing problems as I found them. I would not recommend it-- you have to unpick a lot of stitches anytime you decide ‘actually, it looks better one square to the left’!

~~~~~~~~~~~~

So, did it work? Did it all come together in the end? God, I hope so!

But you know, I think it did. :)

Thanks for reading! ✌

-Geri

P.S. it’s not about any specific panel, but you see how the early drafts have colored borders, while the final version has white ones? At one point I was using a draft of the sampler to mess around with GIMP’s content aware fill, trying to make some glitch art, y’know? And the results were pretty cool, but also overwhelmingly line-y:

…and I was hoping to try and make glitched-out versions of the individual panels, instead. So I took the version I was experimenting with and deleted the borders from it, and from that discovered two things: 

One, that it was a huge improvement to the composition and should absolutely be carried over to the official version of the file, and

Two, that it did not make the content aware fill work any better, and in fact made the results look worse.

This postscript has a happy ending though: turns out if you take any individual panel and use it to tile a plane then you can select a chunk of it, use the content-aware fill, and then pick out the best bits to make your own glitchy sampler :)

✌!

[spookyweaselbones]

how an idiot made a thing

I first had to learn to use OnShape which wasn't too hard since I'd already been pretty familiar with SketchUp.

The next step was obsessively measuring my arm and hand. Then I had to start making decisions and solving problems, and much of that happened in my head over the course of months. And honestly I don't think the solution I arrived at is even close to the best but it's ok for now.

The overall nature of the device is that it measures certain movements of the hand and thumb. The main challenge of doing that is that your hand is in the way of where it would be easiest to put stuff. So you have to make a pretty contrived set of gimbals that let your hand yaw, pitch, and roll. The roll is by far the most complicated, since the mechanism has to wrap around your hand. I ended up building a custom ring bearing with smaller bearings rolling inside a track, with the potentiometer at your fingertips.

Another challenge comes from the laser cutting aspect of this project. I'm not a very good fabricator, and 3D printing is very expensive. So I went with laser cutting because I'm familiar enough with bonding acrylic (plexiglas) using a rather tricky cement. But this process does require that all the parts be completely flat since you're cutting them from above from flat pieces.

But in order to turn these flat pieces into a triple gimbal, I needed them to be able to rotate, and that means mounting them to shafts. The only way that seemed suitable was to bond plates of acrylic at a 90 degree angle to create a surface for mounting, but then something has to be able to be fastened to that plate.

Through much research I identified mountable shaft collars and flanged tee nuts as two possible options. In general, I ended up buying up much more hardware than I would use in the end, because knew that no matter how perfectly I designed the laser cut parts, I would need some options when it came time for everything to be assembled. Plus I'm not a very good designer, nor a trained engineer. I need to hold the parts in my hand and measure them myself to really understand them.

ok so why do this

I love puppetry, and digital characters are really powerful and expressive, but I'm really not an animator. I don't have the sort of mind that can build up a performance from minute movements, for me the performance happens in real time in a single step, which is the essence of puppetry.

I first heard about these devices while watching behind-the-scenes footage of farscape. They are called "Waldos" because of a computer character created by Jim Henson named Waldo C. Graphic.

I'm a weird furry and have long envied people who are using VR rigs to express their characters as vtubers and in chat. But I can't tolerate VR, and besides, I wanted hand-puppet like control, rather than a visual based motion capture.

So the end game for me will to be to express my fursona with this, working in tandem with a flight control stick for additional axes of movement, plus mouth vowel control in real time. This too I'm cribbing from Jim Henson company.

Would this save animation money?

Maybe. If you had a whole pipeline with this, and experienced puppeteers, you would save a lot of time, and you would gain the spontaneity of real time performance. As for money savings... I don't know. Maybe once you absorb the cost of building this thing, which is considerable. Laser cutting is much cheaper than 3D printing, but the cost for this one has still been roughly $1200 USD for plexi, hardware, and additional electronics. And to be honest, this is not ready for anyone other than me to use. This device, like so many DIY solutions, is like an old car only one person knows how to start. A lot more development would be required to make it a viable product (ambidexterity, different hand sizes, eliminate edge cases where it can break, reduce noise, better plug and play functionality)

more testing with my waldo

[tallbluelady]

The Desk

1.6k. Part 1 to Carbuncle!

Rowan watched the waterwheel turn as she sat waiting outside the Carpenter's Guild. Her mother had given the suggestion that she should get any commissions started for Urianger as soon as possible. With how rarely they all were at peace, she found it to be prudent.

"The Timbermaster's ready for you, Mistress Argentas," the secretary said.

She nodded, took one last look the waterwheel, and hoped she could explain her vision to Beatin.

He smiled at her as she walked in. "So the Rowan-child is getting married, is she?"

"It appears to be so, Guildmaster," Rowan smiled back. "Thank you for lending your time to me."

"Oh, anything for Alfinne's daughter." Beatin waved his hand dismissively. "What did you have in mind?"

"At the very least, a desk and chair." She pulled out a few pages from her folio. "I'm coming to the guild because I want these charts inlaid in the desk."

Beatin picked up the chart and gave it a discerning look. "Star charts, eh? I suppose it would suit a wizard's study. We should easily make it turn, as well."

"Good, I wouldn't want him to try and turn the entire desk to get a better angle for his calculations..." She laughed at the thought of Urianger struggling to rotate the heavy desk.

"He wouldn't be the first to try that." Beatin shook his head. "Such men inspired such leaps in innovation. Is there aught else you'd like to have as part of the commission?"

Rowan nodded. "Aye, there is. Tis a bit more on the fanciful side, but I have confidence you and your carpenters can get it made. To put it bluntly, my fiance is a bit of a mess. My house is now covered in books, despite the extensive bookshelves the guild has installed."

"And we thank you for that work."

"Right. What drives me crazy is that despite having space to put the books, Urianger continues to leave them on the floor. Then because he's working on multiple tomes at a time, he looses the one he needs at any moment and then proceeds to tear up the house."

"Mayhap you might employ a maid to remain tidy? Or multiple maids?"

She shook her head. "Nay, he would quickly undo their work trying to find what he needs at the given moment. I think he actually has a display problem, rather than a storage problem."

"How would you have us display these books in a different manner than shelves?"

"Before I came in, I was watching the waterwheel turn..."

*   *   *   *

When Beatin told Rowan that her commission was ready, she had all but forgotten that she had put it in in the first place. The events of the past few moons had really thrown her sense of time through a loop. Once again, she thanked her mother's wisdom in the matter.

Before she would confirm what day the Guild would come in to deliver and install the desk set, she called Urianger on the linkpearl to see if how much longer he would be traveling with Thancred.

"There hath been a lull of travails in our travels, so we saw fit to pause and reconnect with loved ones. I was just about to contact thee to expect mine arrival ere long," he said in happy tones.

"How long is ere long? I... actually have your wedding gift ready. Well, it will be ready quickly. I just need you out of the house for a bit," Rowan said.

"Shouldst thou have enough time to prepare the gift if I return tonight? I have a few errands to run myself, but I doubt I could manage to stay away from thee any longer."

"It should be. I might have to pay more, but I definitely have enough gil to cover it."

"Very well. I look forward to out reunion, my love."

"See you then, darling." Rowan smiled, then turned to Beatin. "Do you have enough hands to get it over to the cottage today?"

"For the ones who saved the Star, I do," Beatin said.

Rowan, realizing that she would need to clean up the house before anyone other than her fiance came home, hurried off to her house as the Carpenter's Guild started to load the commissioned pieces into a wagon. She made a clear path from the entrance to her old bedroom, which would serve as Urianger's study when everything was installed. Still full of anticipation, she started baking so the installers would have a treat after all of their hard work. She would tip them in gil as well, but Mama had always done these kinds of things when she had any workers in the home.

She tried so desperately hard not to add instructions on top of Beatin's. Sure, it was her house and she was paying for the entire endeavor, but she wasn't the Guildmaster and she hated when idle hands were issuing commands. She told Beatin to let her know if she could be useful, but he said that anything past glasses of water weren't necessary. Moving furniture was part of the profession.

So she waited anxiously as various folks heaved, turned, measured the door frame, heaved, measured the door frame again, and then finally got the large desk through the door without scratching the door, floor, or desk. The chair came in much easier, carried in by Beatin himself. The third and final piece entered her house unassembled. The Guildmaster shooed most of his workers to the kitchen as he worked on it, so Rowan offered them the cookies and gave them their tips as she was also banned from the study until it was completed.

She got to see the finished piece when one of Beatin's more trusted assistants, Cemi, called her in.

"Beatin, this is amazing!" Rowan said, turning the wheel.

She grabbed a few opened books and placed them on the trays as if she were referring to all of them. Then she turned the wheel. All three trays stayed upright with a gentle swinging motion. Mayhap it wouldn't serve to place an open flagon of ale on one of them, but it would serve to display at least a few of the books Urianger would work with.

"I can't say it wasn't a challenge, but with Cemi's dedicated research, we were able to adapt it from a different design." Beatin smiled at the Miqo'te girl, who beamed back in pride.

"And the craftsmanship of it all..." Rowan started running her fingers over the delicate inlays. "I didn't expect it would go outside of the star charts."

"Aye, well, twas hard to refuse those who wanted to contribute. I had to set up a competition of sorts lest there be multiple styles clashing everywhere," the Timbermaster said.

Rowan nodded absently as she traced the intricate designs. There were bits of gold leaf, clear gems, and red garnets inlaid throughout the three pieces, all following a celestial theme that she requested.

"I take it that it's to your satisfaction?" Beatin asked.

"Oh, aye, it is indeed!" Rowan looked up and smiled. "Are there any extra charges I need to worry about?"

"Nay, we fell within the generous budget you gave."

She nodded, and tried to dig out her gil pouch when she heard the front door open. "Oh, I think Urianger's home early."

"We can get the account settled at the guild tomorrow. Congratulations on the wedding."

Rowan nodded and escorted Beatin and Cemi out of the house, the party briefly passing Urianger in the kitchen.

"Welcome home!" Rowan gave him a quick peck on the cheek once the guildmembers were out of the house.

He drew her in close and kissed her hair. "Tis a blessing to be home."

She basked in the warmth and comfort of being in Urianger's arms for a minute before trying aught else. It was the reason she just gave him a peck on the cheek rather than embracing him in the first place. Not that she minded.

"Was that the Timbermaster again? Didst thou have more shelves installed in my absence?" Urianger asked when the thought occurred to him to ask.

"Not shelves... Mayhap we should start our gift exchange now." Rowan took his hand and lead him to her old room.

She stopped him as he reached for the door. She was almost bouncing with excitement as she cleared her throat.

"May I present to you... your study." Rowan dramatically swung the door open, revealing the desk set inside.

Urianger turned to her, turned to the room, then turned back to her.

"It's all for you." Rowan kissed his dumbfounded cheek.

He took a few slow steps, as if wary that the whole thing would disappear like a glamoured object once touched. But once he grabbed the chair and felt it's stability, he slumped into it. Then he noticed the star chart on the desk and turned it.

"Tis accurate," was all that was able to come out of his mouth as he continued to turn it.

"Well of course, darling, why wouldn't it be..." She stopped when he sniffed. "Are you crying?"

"I - I know not why I am so overcome. Pray forgive my weakness..."

Rowan took him by the shoulders and held him tightly. "There isn't aught to be forgiven for. It's just unexpected."

He pressed his cheek against hers. "Mayhap the idea of being invited to share thy childhood home with thee hath stirred emotions I never knew were held within me. That thou wishest to share in the joys and tribulations of life with me... I thought I had grasped that concept fully, but mayhap I failed to do so..."

"Well, I do want you in my life. Welcome to the family, Urianger."

[kimnjss]

blowing bubbles | ksj

⇢ pairing: ot7 x reader // seokjin focus. ⇢ genre: smut. // pure unedited filth. ⇢ word count: 4.7K ⇢ theme: established relationships. ⇢ rating: explicit. ⇢ warnings: cursing, slight dirty talk, dry humping, nipple play, oral sex (m. receiving), bath sex, riding, over stimulation if you squint real hard, unprotected sex (be safe loveys!). mentions of exhibitionism.  ⇢ A/N: added a bit of hobi in there for y’all!! buut oof ., i had to do my boy jin bc he’s been wrecking me all week-

You find Hoseok sat outside, scrolling through his phone. Joon sits across from him and Jimin beside him. The fire in between him lighting up his face, the sharp features that make up his side profile. He laughs at something Joon just said, head tipping back as the melodic sound fills the night air.

Quick to close the space between the two of you, arms hanging over his shoulders as your body rests against the back of his chair. Nose nuzzling gently in his sweet smelling hair and you want nothing more than to have him close.

“Come cuddle,” Hoseok's strong hands are reaching up to wrap around your wrist, his head tilting back to look at you. A smile laying upside down on his face from the angle, and you grin down at him.

Capturing his lips in a Spider-Man like kiss, jaw moving slowly as you become deeper and deeper enveloped in him. You can feel his grin grow against your lips, being granted with that large smile of his as he pulls away – lifting his head to glance at the boys seated across from him.

Discussion of a rematch at ping pong is thrown between them before Joon is standing from where he sits. Jimin not far behind him, securing his hood over his ears before he's looking over at the two of you.

“You want to come watch?” He offers, but Hobi is declining the invitation as quickly as it comes. Dramatizing his fatigue with a yawn and a stretch as he stands. “Think we're just going to go to bed?” Words directed to you for reassurance and you're nodding with a bright smile.

Both Jimin and Joon stalk off in the other direction while Hoseok drops his arm over your shoulder, leading you into the house.

Nights spent with Hoseok were always your favorite. Whether you two were rolling around in the sheets, sweaty and panting your release, or if you were wrapped up in his arms talking about everything and nothing. You didn't mind it, genuinely enjoyed yourself.

Close in age so things felt most comfortable between you two. Much like with Namjoon. Despite the romantic feelings you had for him, there was an underlying friendship there. Like if you two were to be in the same class in school or whatever, you'd be close. More often than not, you found yourself thinking about that.

If you had met the boys in a different setting if they weren't the superstars that they are. How differently would your relationship be? Dating made much easier. Would they all still want to be with you?

“What are you thinking about?” Hobi's words are breaking through your thoughts, steps halted halfway up the stairs when he realized you haven't said a word since the two of you left the table.

He's turned to you, close in the small stairway. Smelling as sweet as he always does, even after the long day spent outside. Your arms are lifting with no hesitation, wrapping around his neck to pull him closer as you lean back against the wall. Shoulders shrugging slightly, you lean up to press a soft kiss to the tip of his nose.

“You, me, us.” His smile grows, hands dropping down to enclose your hips. Warmth spreads throughout your body at the simple touch. Easily leaning into him as he rests his forehead on yours.

“You, me, us... doing what?” His brow lifts as he steps closer to you. A single hand dropping lowering down your hips. Fingers splaying over the curve of your ass, the gentle pressure pushing your hips closer to his.

The giggle that falls from your lips is automatic, not even the slightest bit surprised with how quickly he could shift your mood. Not much effort needed to make you putty for him and he knew it. “You thinking about having all of us fuck you?” He guesses and if you weren't thinking about it then, you definitely were thinking about it now.

It was safe to say Hoseok was most fond of the idea of sharing you. Was always the first one to perk up when it was suggested and never batted an eye if he found Jungkook lurking. Always fucked you harder, rougher when he knew there was an extra set of eyes on him. As if he got off on being watched.

A soft whimper slips past your parted lips, mind flooded with just how good it's felt to be shared by them. Never have you had all of them at once, their concern of overwhelming you leaking through – but even just two of them was enough to make your head spin. Heck, one of them was enough.

Hoseok is taking the sound like a green light to lean up, pulling your lips between his in a heated kiss. Instantly melting into him, your hands creeping up the back of his neck to tangle in the soft strands of his freshly washed hair.

His hands are warm, their decent from your hips to your thighs igniting liquid fire beneath your skin. A gentle tug on your leg has your thigh pressed firmly against his torso, his body slipping further between your legs until his chest his pressed against yours. All at once, his hands are gripping tighter on your thighs, easily lifting your body into his arms – using his hips to push your back against the wall.

“Think I'm gonna keep you to myself tonight, though.” Mouth still pressed against yours as he speaks, teeth pressed against your lower lip when his lips spread into a smile. Head ducking down until he's able to latch onto your neck.

Sucking hickeys into your skin, his hands roaming over the smallest part of your waist. He's holding you up with his hips, and you can feel his arousal through the fabric of his pants.

“Oh.” You gasp, not sure if it's from the sharpness of his teeth or the slow drag of his crotch over yours that he's started. Soft hands creeping underneath the hem of your shirt until he's meeting the top of your bra. In one swift movement, he's tugging the cup down to so you're tit is spilling over the top.

A soft groan falls from his lips, mixing the with your moan from the feeling of his thumb flicking over your hardened nipple. Just a simple tug has your chest lifting, teeth cutting into your lower lip.

With your fingers clutching his messy hair, your hips begin to roll against his. The sudden friction causing his own hips to lift, rutting gently against you. “God, look at you.” You can hear the smirk in his voice, the hand left on your hips tightening. He uses his grip to move your body faster against his.

You can only imagine how you look right now. Cheeks flushed and eyes unfocused as you try desperately to get yourself off through the fabric of your clothing. Fingers clasped tightly around his neck as you bounce between him and the wall. “Should I make you cum like this?” His voice is gruff and close to your ear, his hips lifting to press his cock harder against you.

Head bobbing like some sex-crazed bobblehead, a soft chuckle falling from his lips. He's bending forward enough so he's able to wrap his lips around your nipple. The feeling of his wet tongue coaxing the bud has a shock of arousal cruising through your veins, hips rotating to feel his cock nudge against your clit.

“Y-you feel so good,” You whine, desperation lacing every syllable. His hips rolling slowly, pressed firmly against your clit. The sudden pain of his teeth sinking into your nipple has a yelp flying from your lips, fingers tightening in his hair as you pull him tighter to your chest.

He moves with determination, the goal of making you cum heavy in his mind. And it's not long before you feel the familiar tightness in the pit of your stomach, toes curling at his sides as he drives his hips roughly into yours.

All at once, you feel the band snapping, eyes screwing tight as your head falls onto his shoulder. Your hips move frantically against his, attempting to ride your orgasm out as it washed through you. Heavy breaths lifting your chest as you urge yourself to regain your composure, in slight disbelief with how sensitive you've become.

A chuckle falls from Hoseok's lips as he's pulling back from you, carefully setting your body back onto your feet. “Good?” He says with a grin, watching for the nod of your head. His lips are coming down to press a soft kiss to your lips and your heart is singing with the feeling of them.

The kiss is quickly deepening, his tongue slipping past your lips and rolling against yours. His body pressed against yours and you can feel the hardness of his cock pressed against his thigh. Your mouth is separating from his with a pop, lust-filled eyes peeking up at him.

“Take me to your room,” There's no hiding the whine in your voice and he's grinning at the sound, hand clasping in yours as he pulls you the rest of the way into his room. Your back hitting the softness of his bed the second he's pushing the door closed.

“Whoa!” You're shouting a bit too loud with the fact Jungkook is asleep in the room behind you. Taehyung's arms on either side of your body, caging you against the railing as you steer the remote control boat.

He's laughing at your surprise of the speed of the boat, chin resting on your shoulder as he watches you play. His fingers wrapping around yours to help you steer. Tae's soft curls tickling the side of your face.

You were woken up early this morning by melodic piano playing from downstairs. Hoseok stirring as the sounds became more consistent and it's not long before the both of you are standing from the bed. Finding Taehyung in the kitchen, you take a seat on the chair beside him, holding his plate as he cooks.

Following him out of the house and onto the dock as soon as you finish. It doesn't take much for him to hand over the controller, letting you steer as he watches. Holding your body close to his the entire time.

“Oh! It's Jin-Hyung!” Taehyung is pointing excitedly, gesturing a little way in front of you. Eyes squinted to make out the two figures jogging in your direction, a large smile lifting the corners of your lips as you wave your arm.

Whatever the conversation they're having comes to a pause when he's catching sight of you. A large grin taking over the elder's features as he waves back at you. “I'm gonna go say hi,” You tell Tae, who simply nods moving back to release you from his grasp.

Both him and Hoseok are seated at on the lawn chairs when you walk up, easily sliding into the vacant space on Jin's lap, fingers mussing up his slightly sweaty hair. His arm is easily sliding around your waist, continuing his conversation carelessly as if you hadn't just park your bum on his thigh.

Gentle fingers draw shapes and patterns against your leg as the three of you chat. Conversation bouncing easily between the three of you, body completely relaxed against Jin's body.

You've seen the least of Jin since you were arriving. He always seemed to be busy either fishing or cooking, the lesser part of you had started to think that maybe he was avoiding you – but the bigger, much smarter part of you knew that that wasn't the case.

Simply enjoying his free time in the wilderness, catching up on all the things that he's not normally able to do with his busy schedule. Either way, you're happy to be in his arm now. Despite how invested he's in the conversation with Hoseok, his attention is still on you.

The gentle brush of his fingers against your skin is proof enough. His chest is hard against your back, the slight dampness left on his shirt from his run making it easier for you to feel the ripples of his abs through the fabric.

You're only half-listening to their conversation at this point, simply enjoying the fresh air, finding comfort in being with them. At ease ever since you've arrived here. It was something about being outdoors, being around the people that you loved that made this trip so healing.

Not a single worry since you were stepping out of the car. And it was only getting better as the days went on.

It wasn't often that you were able to let loose like this with them. Always so busy, on the go and you were really just seeing them when you could. But now? You had all of them around you, free to breathe to be with you and you were honestly so happy.

Your thoughts are coming to a halt when you feel the lull in their conversation, attention on you that has your brow furrowing. Head tilting to the side so you're able to get a good look at Jin. He must sense your confusion, put together that you weren't exactly listening to his words because a soft laugh is falling from his lips.

“I said, I need to go shower.” It's then that you're noticing Hoseok has stood from his spot beside you, only a few steps away as he makes his way into the house. Sliding from his lap, Jin stands – a hand instantly wrapping around your waist. “I haven't showered yet,” Offering up the information in hopes he'll catch your drift.

Tiny smirk twitches on the corner of his lips, his grip tightening slightly around you to pull your body closer to his. “That so?” He says, feigning indifference but you knew for a fact the thoughts bouncing around his mind.

“Mhm. Sharing would make sense, right? Save time.” Although, you had all the time in the world right now. Jin is nodding his head in agreement without a moment of hesitance. “And water.” He adds, picking up the pace of his steps as the two of you enter the main house.

Only a few seconds of debate is had before Jin is filling up the tub, the sound of a bath more appealing to him than a shower. As soon as you're seeing him strip from his sticky clothes and lower himself into the bathwater, you're agreeing.

The tub isn't huge, not enough space for the two of you to sit side by side, so it's obvious where you'll be settling. Jin watches you with hooded eyes the entire time you're peeling your night clothes from your body. Basking in the slow way you pull your shirt over your head, tits bouncing slightly from the movement of your arms.

Then you're moving down to your shorts, tugging them down your long legs along with your panties. His eyes follow your hand the entire way, slowly dragging up to check out your neatly shaven mound. He's hard just from the sight of you standing over him, cock twitching as you lower yourself into the water – a leg on either side of him.

Jin is not pouncing on you the moment you're straddling him, despite how much he wants to – he has more restraint than that. His arms simply wrap around your body, pulling you in close as your head naturally finds his chest.

His skin is warm against your cheek, arms cradling you in nicely into his body. Hard cock pressed firmly against your thigh, but he pays it no mind. Instead, he's walking his finger up your back, twisting your damp strands of hair between his fingers.

“Are you enjoying yourself?” The vibration of his voice tickles your cheek, pushing a smile onto your features.

You nod, recounting the short time spent here. With them. “You guys seem so relaxed.”

Plump lips stretch into a smile before he's puckering to place a soft kiss to your forehead. “And what about you?” He's moving underneath you, leaning forward to reach behind you, but you don't make an effort to un-cling from his body.

“I'm relaxed too.” You answer just as he's leaning back a loofah in hand, drizzled in body wash. “That's good. I'm glad, baby.” He speaks softly to you, bringing the sponge toward your body to lather the soap into your skin.

He moves from your back to your arms to your front, the entire time soft hums falling from your lips – eyelashes fluttering from the gentle massage. His touch so light and soothing, you could see yourself falling asleep in his arms. Jin was always the most gentle with you.

Taking his time with washing you, he makes sure to lather your entire body – paying special attention to your breasts until he's positive their squeaky clean. The same amount of care is given to the apex of your thighs. You'd think he was just being thorough if it wasn't for the constant jump of his cock each time he was reaching an erogenous area.

Your body jolts when he's accidentally nudging your clit, thighs pressing together as a murmured cruse leaves your lips. Jin's head is lifting, brow arched as he searches your features. “Sensitive?” He asks with a smirk, bringing his hand down for an experimental swipe of his thumb over your clit.

Your hips buck this time, head nodding instantly as your hands on his torso tightened. “Very.” The constant, round the clock sex, had definitely affected you more than you liked to admit. And judging from the smirk on Jin's face, he's liking the idea of your new sensitivity.

But he doesn't push it, simply rinses the suds from your body before reaching for the shampoo bottle resting on the shelf. “Wash my hair?” Back straightening and fingers reaching for the bottle in an instant. You squirt a bit of shampoo into your palm before rubbing your hands together, leaning close to bury your hands in his hair.

At this new angle, his cock is pressed directly against your core. Just resting between your lips and you can't stop the gentle roll of your hips that has a groan falling from both of your lips. Large hands resting on either side of your rib cage, thumbs running over the underneath of your breasts as his eyes fluttered closed.

Jin has his head tipped back, lip tucked between his teeth as he allows himself to enjoy the feeling of your nails brushing against his scalp. Massaging the shampoo all throughout his head while at the same time twitching from the light stimulation between your legs.

“Fuck, you're getting so wet.” His voice so low, you're not sure if you imagined it. Sure you hadn't when you feel one of his hands drop, landing directly on your ass to push your hips close to his. This has the rough tip of his cock pressed right against your bundle of nerves.

You whimper, legs spreading slightly in hopes to feel more of him. But he keeps your hips steady in his grip. “My hair,” He reminds and you're only then noticing that your fingers had gone frozen between his strands.

Clean enough, you decide. Too needy for the teasing. Gathering enough water to rinse the shampoo from his hair, your haste pulling a chuckle from his lips. The hand left on your torso lifts, taking hold of your heavy breast; thumb swiping over your nipple quickly. 

At the same time, his hips are lifting his cock easily sliding between your wet folds, pulling a breathy moan from your lips. “Jin,” You pant, fingers curling in his soapy hair as your body bounces over him. Loving the slow drag of his cock against your clit.

“What do you want, princess?” With your head rested back on his shoulder, his lips are close to your ear. Their softness brushing against the shell of it with each word. “I want you.” You sigh, hand lifting to cover his on your breast. Guiding the movements of his fingers over your nipples, applying more pressure to his light touch.

You hear the smirk in his voice, not even having to lift your head to gauge the look on his face. “Want me to do what?” Huffing, a pout takes over your features. Whines are drawn out as you grind against him.

He acts as if he's not a mess from the friction. Doing a good job at suppressing his moans and the contortion of his features. What he can't hide, though, is the precum that dribbles from the tip of his cock onto your thigh. So hard and thick, ready to fuck into you.

Your legs tighten around his hips, shuddering at the new closeness. Hips slowing down so he can feel every bit of slick against his shaft. He bites his lip to hide his groan, but you're letting the moans fall from your lips freely. The sound hitting his ears and hardening his cock.

“F-fuck me,” You gasp when his tip catches at your entrance, but it's so quick you don't have the chance to bask in it before he's moving into the slow drag. “Please.” His fondness for manners hitting you last minute. Jin grins.

Fed up with the teasing, of you and himself, he's quickly lining his cock up with your dripping core. “This where you want me?” He mumbles, watching the frantic nod of your head. But he doesn't move.

“I don't know what that means,” Noticing the confusion that riddles your features. “Please, fuck me here.” You're panting out, legs opening wider for him as if to punctuate your words.

He's pushing forward without another word, thick shaft pushing through your walls, stretching you out with each inch until you're seated on his lap. The breath that you had been holding fans over his chest.

A hand reaching down, fingers rolling your clit around to loosen up your grip around him. It doesn't take long for your body to get used to the intrusion, walls unclenching just slightly – making it easier for him to pull out.

“Fuck, Jin!” You're crying out with the force he pushes into you. The snap of his hips causing your tits to bounce. He's quickly taking notice of that, arms tightening around your body as he tilts his head up – latching his lips around your nipple.

Wet tongue flicking against one side while his fingers lift to tug on the since neglected nipple. He doesn't slow the power of his thrusts, loud moans, and whimpers falling from your lips as you grind your hips down onto his.

Clit rubbing against his pubic bone in this angle, each brush having a pang of arousal shocking your senses. “Feel good, baby? You look so pretty bouncing on my cock.” Words delivered into your chest, but you hear him as if he's speaking directly into your ear.

“S-so good, Jin. Oh, fuck.” Your toes curl from the sudden deepness of his thrusts, tip of his cock brushing against the rough patch of skin deep inside of you. “Again, please.” Head bowed, your forehead pressed against his shoulder. Your thighs threaten to close from the immense pleasure, but it's impossible with the way he's wedged between them.

Jin pushes inside of you again, deeper. Pressing against your gspot deliberately this time and it has your body spasming. Back arching as shouted cruses leave your lips. Eyes squeeze so tight, you're seeing spots on the ceiling when you find the strength to open them.

Walls squeezing tight around him, slowing the movement of his thrusts but he's determined to push you over the edge your teetering on. Cock buried deep inside of you, he lets your hips roll against his. All the way, his fingers are finding that bundle of nerves, pinching it between his fingers.

“I'm gonna...” Words trailing as your lips find his, kissing him hungrily as your body grinds against him. The pace you created somehow faster, rougher than how he had been fucking you before. Jin's got your clit squeezed between his knuckles, and the quick tug has your body crashing down onto his. “I'm cumming, I'm...fuck, Jin!” The screech of your voice fills the bathroom, heard over the splash of bathwater, the slap of your skin as he lifts his hips to meet your thrusts.

Your body tightens around his, going rigid as your climax takes washes over you. Lashes fluttering as murmured words of thanks fall from your lips. Then all at once, you're going limp in his arms, breathing harsh while the aftershocks of your orgasm make your body twitch.

Lowering his hips, his cock slides out of you with ease. Glistening with your release, but still has hard as it was when he put it in. Most of the bubbles he had filled the bath with gone done, but some still coat his stomach and legs.

The moment the fog in your brain is clearing, you're sliding from his lap. His head is lifting at your sudden movement, hand dropping to catch yours just as you're reaching for his shaft. “It's okay,” He assures you with an easy smile, but you're shaking your head.

“I want to.” You pout, fingers closing around his cock to give him one powerful thrust. His eyes are rolling, head falling against the tile of the bathroom. A grin spreading across your lips as you lean forward, lips wrapping around his tip.

He hisses at the wetness of your tongue rolling over him, a hand lifting to tangle his fingers in your wet hair. Hands finding his thighs, you lower your head slowly taking as much of him as you can into your throat. “Fuck, just like that, baby...” He encourages with a sigh.

Cheeks hallowing, you drag your head back before pushing forward. Managing to get more of him into your mouth this time around, nose pressed against his pubic bone. A low grunt leaves his lips as your swallowing around him, teary eyes lifting to look at him.

Jin looks so hot above you. Struggling to keep his head lifted to watch you, teeth cutting into his lower lip. Brows creased with pleasure. “Fuck, princess.” He sighs, at the feeling of your closing around his balls.

He's gasping when your fingers squeeze around them, your head bobbing quickly over him; tongue dragging over his shaft. You ignore the bit of drool that leaks out of the corners of your mouth, concentrating fully on the sounds of his groans as you bring him closer to his release.

It's when his hips start to lift that you know he's close, thrusting shallowly into your mouth. The grip in your hair tightens and he's pushing your head further down. A hand finds his hips, slowing his hurried thrusts as your throat restricts around him. Lips wrapped tight around your base as he spills out.

Jumbled words of praise fall from his lips as you take in all he's giving you, swallowing down every last drop of his thick cum until his hips are sinking back into the water. Pulling off of him with a loud pop, you show off your empty mouth. Loving the way a grin lifts onto his features.

“You're so perfect,” He sighs, sitting up to reach for the back of your neck. He pulls your lips to his, enveloping you in the sweetest of kisses that have a flutter rising in your chest.

Jin is helping you out of the tub once the bathwater has gone cold, pressing loving kisses to the side of your face as he wraps your body in a plush towel. With his own towel wrapped around his waist, his arms are wrapping around your hips.

Walking you out of the bathroom with your body cradled in his. Laughter can be heard from downstairs, the boys talking loudly amongst each other. The sound, mixed with the gentle kisses from Jin's plump lips against your skin has happiness settling in your chest.

Oh, how you wished this week would never end.

- seven days in the forest spent with your seven boyfriends while they film their upcoming reality tv show. there’s no telling what the eight of you will get into when the cameras are off.

⬷ masterlist ⤖

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[spacedlexi]

Any tips for lighting scenes when drawing? I find myself struggling with it the most

HMM mostly im always thinking about how much light there is, where its coming from, and how it hits the subjects

ambient light scenes (whether day or night) are the easiest because theres not really a direct light source, so its more general shading. but once you add a direct light source/subjects are close enough to block light, things start working differently

these TWO VIDEOS video about ambient light and color are pretty helpful if you dont know what it is/how to apply it

long explanation (with examples) under cut!!

im not always thinking about the lighting for my scene when im drawing unless i have something very specific in mind before i start, but even then i dont worry about it until im actually coloring and adding depth to the scene

this scene has both ambient light (night sky. blue arrows), and a harsh direct light (emergency lights. yellow). so theres soft rim lighting coming from the environment (light bouncing around), plus one direct light source. its a close, bright source so its harsh

this one is also a night scene but its just one light source. moonlight coming in through the window, blocked by the bunk bed. so only part of them gets hit by the light and its a little softer (more ambient). but theyre also close to each other and a wall, so less light will bounce between them. the wall is in almost complete shadow so bounced light wont really make it back to violet whos closest

this one is a general light source but their proximity is casting them (mostly clem at this angle) into shadow. the light source is being blocked (why i didnt put the light shine in her right eye). but you can see it still hitting clems right shoulder a bit because the light isnt blocked that far out

it can be really easy to get carried away with lighting and lose your source. when i find myself struggling with how an object will be hit by light, i'll add directional arrows (like i did here) to help me keep in mind how much light there is and where its coming from. you can also block out the shapes of the light and shadows like ive done here. i color by blocking out shadows and then adding more detail to the shadows and highlights

theres also different ways to apply light and shadows! some people like to start in light and block out shadows, and some people like to start in shadow and block out light. i mainly use the first method except for hair where i start from shadow to light for some reason. but depending on severity of light i might start in shadow

it might help to to think of your light like a flashlight. you can make the cone wider or smaller, and move it closer or farther. you can rotate it and angle it. the wider the cone of light, the more light hits your subjects, and the farther it gets, the softer it gets as it diffuses. you can have different flashlights producing different kinds of light at the same time from different directions and angles. have fun with it :)

also learn the different planes of your subject. theres a lot of planes on the face that im still memorizing, but knowing the surface of your subject will help you figure out how itll be affected when hit by light. a lot of things can be broken down into the simplest of shapes

[malscare]

there is no way that a bee should be able to fly. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyway. Because bees don’t care what humans think is impossible.” SEQ. 75 - “INTRO TO BARRY” INT. BENSON HOUSE - DAY ANGLE ON: Sneakers on the ground. Camera PANS UP to reveal BARRY BENSON’S BEDROOM ANGLE ON: Barry’s hand flipping through different sweaters in his closet. BARRY Yellow black, yellow black, yellow black, yellow black, yellow black, yellow black...oohh, black and yellow... ANGLE ON: Barry wearing the sweater he picked, looking in the mirror. BARRY (CONT’D) Yeah, let’s shake it up a little. He picks the black and yellow one. He then goes to the sink, takes the top off a CONTAINER OF HONEY, and puts some honey into his hair. He squirts some in his mouth and gargles. Then he takes the lid off the bottle, and rolls some on like deodorant. CUT TO: INT. BENSON HOUSE KITCHEN - CONTINUOUS Barry’s mother, JANET BENSON, yells up at Barry. JANET BENSON Barry, breakfast is ready! CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 1. INT. BARRY’S ROOM - CONTINUOUS BARRY Coming! SFX: Phone RINGING. Barry’s antennae vibrate as they RING like a phone. Barry’s hands are wet. He looks around for a towel. BARRY (CONT’D) Hang on a second! He wipes his hands on his sweater, and pulls his antennae down to his ear and mouth. BARRY (CONT'D) Hello? His best friend, ADAM FLAYMAN, is on the other end. ADAM Barry? BARRY Adam? ADAM Can you believe this is happening? BARRY Can’t believe it. I’ll pick you up. Barry sticks his stinger in a sharpener. SFX: BUZZING AS HIS STINGER IS SHARPENED. He tests the sharpness with his finger. SFX: Bing. BARRY (CONT’D) Looking sharp. ANGLE ON: Barry hovering down the hall, sliding down the staircase bannister. Barry’s mother, JANET BENSON, is in the kitchen. JANET BENSON Barry, why don’t you use the stairs? Your father paid good money for those. "Bee Movie" - JS REVISIONS 8/13/07 2. BARRY Sorry, I’m excited. Barry’s father, MARTIN BENSON, ENTERS. He’s reading a NEWSPAPER with the HEADLINE, “Queen gives birth to thousandtuplets: Resting Comfortably.” MARTIN BENSON Here’s the graduate. We’re very proud of you, Son. And a perfect report card, all B’s. JANET BENSON (mushing Barry’s hair) Very proud. BARRY Ma! I’ve got a thing going here. Barry re-adjusts his hair, starts to leave. JANET BENSON You’ve got some lint on your fuzz. She picks it off. BARRY Ow, that’s me! MARTIN BENSON Wave to us. We’ll be in row 118,000. Barry zips off. BARRY Bye! JANET BENSON Barry, I told you, stop flying in the house! CUT TO: SEQ. 750 - DRIVING TO GRADUATION EXT. BEE SUBURB - MORNING A GARAGE DOOR OPENS. Barry drives out in his CAR. "Bee Movie" - JS REVISIONS 8/13/07 3. ANGLE ON: Barry’s friend, ADAM FLAYMAN, standing by the curb. He’s reading a NEWSPAPER with the HEADLINE: “Frisbee Hits Hive: Internet Down. Bee-stander: “I heard a sound, and next thing I knew...wham-o!.” Barry drives up, stops in front of Adam. Adam jumps in. BARRY Hey, Adam. ADAM Hey, Barry. (pointing at Barry’s hair) Is that fuzz gel? BARRY A little. It’s a special day. Finally graduating. ADAM I never thought I’d make it. BARRY Yeah, three days of grade school, three days of high school. ADAM Those were so awkward. BARRY Three days of college. I’m glad I took off one day in the middle and just hitchhiked around the hive. ADAM You did come back different. They drive by a bee who’s jogging. ARTIE Hi Barry! BARRY (to a bee pedestrian) Hey Artie, growing a mustache? Looks good. Barry and Adam drive from the suburbs into the city. ADAM Hey, did you hear about Frankie? "Bee Movie" - JS REVISIONS 8/13/07 4. BARRY Yeah. ADAM You going to his funeral? BARRY No, I’m not going to his funeral. Everybody knows you sting someone you die, you don’t waste it on a squirrel. He was such a hot head. ADAM Yeah, I guess he could’ve just gotten out of the way. The DRIVE through a loop de loop. BARRY AND ADAM Whoa...Whooo...wheee!! ADAM I love this incorporating the amusement park right into our regular day. BARRY I guess that’s why they say

we don’t need vacations. CUT TO: SEQ. 95 - GRADUATION EXT. GRADUATION CEREMONY - CONTINUOUS Barry and Adam come to a stop. They exit the car, and fly over the crowd to their seats. * BARRY * (re: graduation ceremony) * Boy, quite a bit of pomp...under * the circumstances. * They land in their seats. BARRY (CONT’D) Well Adam, today we are men. "Bee Movie" - JS REVISIONS 8/13/07 5. ADAM We are. BARRY Bee-men. ADAM Amen! BARRY Hallelujah. Barry hits Adam’s forehead. Adam goes into the rapture. An announcement comes over the PA. ANNOUNCER (V.O) Students, faculty, distinguished bees...please welcome, Dean Buzzwell. ANGLE ON: DEAN BUZZWELL steps up to the podium. The podium has a sign that reads: “Welcome Graduating Class of:”, with train-station style flipping numbers after it. BUZZWELL Welcome New Hive City graduating class of... The numbers on the podium change to 9:15. BUZZWELL (CONT’D) ...9:15. (he clears his throat) And that concludes our graduation ceremonies. And begins your career at Honex Industries. BARRY Are we going to pick our job today? ADAM I heard it’s just orientation. The rows of chairs change in transformer-like mechanical motion to Universal Studios type tour trams. Buzzwell walks off stage. BARRY (re: trams) Whoa, heads up! Here we go. "Bee Movie" - JS REVISIONS 8/13/07 6. SEQ. 125 - “FACTORY” FEMALE VOICE (V.O) Keep your hands and antennas inside the tram at all times. (in Spanish) Dejen las manos y antennas adentro del tram a todos tiempos. BARRY I wonder what it’s going to be like? ADAM A little scary. Barry shakes Adam. BARRY AND ADAM AAHHHH! The tram passes under SIGNS READING: “Honex: A Division of Honesco: A Part of the Hexagon Group.” TRUDY Welcome to Honex, a division of Honesco, and a part of the Hexagon group. BARRY This is it! The Honex doors OPEN, revealing the factory. BARRY (CONT’D) Wow. TRUDY We know that you, as a bee, have worked your whole life to get to the point where you can work for your whole life. Honey begins when our valiant pollen jocks bring the nectar to the hive where our top secret formula is automatically color-corrected, scent adjusted and bubble contoured into this... Trudy GRABS a TEST TUBE OF HONEY from a technician. "Bee Movie" - JS REVISIONS 8/13/07 7. TRUDY (CONT’D) ...soothing, sweet syrup with its distinctive golden glow, you all know as... EVERYONE ON THE TRAM (in unison) H-o-n-e-y. Trudy flips the flask into the crowd, and laughs as they all scramble for it. ANGLE ON: A GIRL BEE catching the honey. ADAM (sotto) That girl was hot. BARRY (sotto) She’s my cousin. ADAM She is? BARRY Yes, we’re all cousins. ADAM Right. You’re right. TRUDY At Honex, we also constantly strive to improve every aspect of bee existence. These bees are stress testing a new helmet technology. ANGLE ON: A STUNT BEE in a HELMET getting hit with a NEWSPAPER, then a SHOE, then a FLYSWATTER. He gets up, and gives a “thumb’s up”. The graduate bees APPLAUD. ADAM (re: stunt bee) What do you think he makes? BARRY Not enough. TRUDY And here we have our latest advancement, the Krelman. "Bee Movie" - JS REVISIONS 8/13/07 8. BARRY Wow, what does that do? TRUDY Catches that little strand of honey that hangs after you pour it. Saves us millions. ANGLE ON: The Krelman machine. Bees with hand-shaped hats on, rotating around a wheel to catch drips of honey. Adam’s hand shoots up. ADAM Can anyone work on the Krelman? TRUDY Of course. Most bee jobs are small ones. But bees know that every small job, if it’s done well, means a lot. There are over 3000 different bee occupations. But choose carefully, because you’ll stay in the job that you pick for the rest of your life. The bees CHEER. ANGLE ON: Barry’s smile dropping slightly. BARRY The same job for the rest of your life? I didn’t know that. ADAM What’s the difference? TRUDY And you’ll be happy to know that bees as a species haven’t had one day off in 27 million years. BARRY So you’ll just work us to death? TRUDY (laughing) We’ll sure try. Everyone LAUGHS except Barry. "Bee Movie" - JS REVISIONS 8/13/07 9. The tram drops down a log-flume type steep drop.

Cameras flash, as all the bees throw up their hands. The frame freezes into a snapshot. Barry looks concerned. The tram continues through 2 doors. FORM DISSOLVE TO: SEQ. 175 - “WALKING THE HIVE” INT. HONEX LOBBY ANGLE ON: The log-flume photo, as Barry looks at it. ADAM Wow. That blew my mind. BARRY (annoyed) “What’s the difference?” Adam, how could you say that? One job forever? That’s an insane choice to have to make. ADAM Well, I’m relieved. Now we only have to make one decision in life. BARRY But Adam, how could they never have told us that? ADAM Barry, why would you question anything? We’re bees. We’re the most perfectly functioning society on Earth. They walk by a newspaper stand with A SANDWICH BOARD READING: “Bee Goes Berserk: Stings Seven Then Self.” ANGLE ON: A BEE filling his car’s gas tank from a honey pump. He fills his car some, then takes a swig for himself. NEWSPAPER BEE (to the bee guzzling gas) Hey! Barry and Adam begin to cross the street. "Bee Movie" - JS REVISIONS 8/13/07 10. BARRY Yeah but Adam, did you ever think that maybe things work a little too well around here? They stop in the middle of the street. The traffic moves perfectly around them. ADAM Like what? Give me one example. BARRY (thinks) ...I don’t know. But you know what I’m talking about. They walk off. SEQ. 400 - “MEET THE JOCKS” SFX: The SOUND of Pollen Jocks. PAN DOWN from the Honex statue. J-GATE ANNOUNCER Please clear the gate. Royal Nectar Force on approach. Royal Nectar Force on approach. BARRY Wait a second. Check it out. Hey, hey, those are Pollen jocks. ADAM Wow. FOUR PATROL BEES FLY in through the hive’s giant Gothic entrance. The Patrol Bees are wearing fighter pilot helmets with black visors. ADAM (CONT’D) I’ve never seen them this close. BARRY They know what it’s like to go outside the hive. ADAM Yeah, but some of them don’t come back. "Bee Movie" - JS REVISIONS 8/13/07 11. The nectar from the pollen jocks is removed from their backpacks, and loaded into trucks on their way to Honex. A SMALL CROWD forms around the Patrol Bees. Each one has a PIT CREW that takes their nectar. Lou Loduca hurries a pit crew along: LOU LODUCA You guys did great! You’re monsters. You’re sky freaks! I love it! I love it! SCHOOL GIRLS are jumping up and down and squealing nearby. BARRY I wonder where those guys have just been? ADAM I don’t know. BARRY Their day’s not planned. Outside the hive, flying who-knows-where, doing who-knows-what. ADAM You can’t just decide one day to be a Pollen Jock. You have to be bred for that. BARRY Right. Pollen Jocks cross in close proximity to Barry and Adam. Some pollen falls off, onto Barry and Adam. BARRY (CONT’D) Look at that. That’s more pollen than you and I will ever see in a lifetime. ADAM (playing with the pollen) It’s just a status symbol. I think bees make too big a deal out of it. BARRY Perhaps, unless you’re wearing it, and the ladies see you wearing it. ANGLE ON: Two girl bees. "Bee Movie" - JS REVISIONS 8/13/07 12. ADAM Those ladies? Aren’t they our cousins too? BARRY Distant, distant. ANGLE ON: TWO POLLEN JOCKS. JACKSON Look at these two. SPLITZ Couple of Hive Harrys. JACKSON Let’s have some fun with them. The pollen jocks approach. Barry and Adam continue to talk to the girls. GIRL 1 It must be so dangerous being a pollen jock. BARRY Oh yeah, one time a bear had me pinned up against a mushroom. He had one paw on my throat, and with the other he was slapping me back and forth across the face. GIRL 1 Oh my. BARRY I never thought I’d knock him out. GIRL 2 (to Adam) And what were you doing during all of this? ADAM Obviously I was trying to alert the authorities. The girl swipes some pollen off of Adam with a finger. BARRY (re: pollen) I can autograph that if you want. "Bee Movie" - JS REVISIONS 8/13/07 13. JACKSON Little gusty out there today, wasn’t it, comrades? BARRY Yeah. Gusty. BUZZ You know, we’re going to hit a sunflower patch about six miles from here tomorrow. BARRY Six miles, huh? ADAM (whispering) Barry. BUZZ It’s a puddle-jump for us. But maybe you’re not up for it. BARRY Maybe I am. ADAM

(whispering louder) You are not! BUZZ We’re going, oh-nine hundred at JGate. ADAM (re: j-gate) Whoa. BUZZ (leaning in, on top of Barry) What do you think, Buzzy Boy? Are you bee enough? BARRY I might be. It all depends on what oh-nine hundred means. CUT TO: SEQ. 450 - “THE BALCONY” "Bee Movie" - JS REVISIONS 8/13/07 14. INT. BENSON HOUSE BALCONY - LATER Barry is standing on the balcony alone, looking out over the city. Martin Benson ENTERS, sneaks up behind Barry and gooses him in his ribs. MARTIN BENSON Honex! BARRY Oh, Dad. You surprised me. MARTIN BENSON (laughing) Have you decided what you’re interested in, Son? BARRY Well, there’s a lot of choices. MARTIN BENSON But you only get one. Martin LAUGHS. BARRY Dad, do you ever get bored doing the same job every day? MARTIN BENSON Son, let me tell you something about stirring. (making the stirring motion) You grab that stick and you just move it around, and you stir it around. You get yourself into a rhythm, it’s a beautiful thing. BARRY You know dad, the more I think about it, maybe the honey field just isn’t right for me. MARTIN BENSON And you were thinking of what, making balloon animals? That’s a bad job for a guy with a stinger. "Bee Movie" - JS REVISIONS 8/13/07 15. BARRY Well no... MARTIN BENSON Janet, your son’s not sure he wants to go into honey. JANET BENSON Oh Barry, you are so funny sometimes. BARRY I’m not trying to be funny. MARTIN BENSON You’re not funny, you’re going into honey. Our son, the stirrer. JANET BENSON You’re going to be a stirrer?! BARRY No one’s listening to me. MARTIN BENSON Wait until you see the sticks I have for you. BARRY I can say anything I want right now. I’m going to get an ant tattoo. JANET BENSON Let’s open some fresh honey and celebrate. BARRY Maybe I’ll pierce my thorax! MARTIN BENSON (toasting) To honey! BARRY Shave my antennae! JANET BENSON To honey! "Bee Movie" - JS REVISIONS 8/13/07 16. BARRY Shack up with a grasshopper, get a gold tooth, and start calling everybody “Dawg.” CUT TO: SEQ. 760 - “JOB PLACEMENT” EXT. HONEX LOBBY - CONTINUOUS ANGLE ON: A BEE BUS STOP. One group of bees stands on the pavement, as another group hovers above them. A doubledecker bus pulls up. The hovering bees get on the top level, and the standing bees get on the bottom. Barry and Adam pull up outside of Honex. ADAM I can’t believe we’re starting work today. BARRY Today’s the day. Adam jumps out of the car. ADAM (O.C) Come on. All the good jobs will be gone. BARRY Yeah, right... ANGLE ON: A BOARD READING: “JOB PLACEMENT BOARD”. Buzzwell, the Bee Processor, is at the counter. Another BEE APPLICANT, SANDY SHRIMPKIN is EXITING. SANDY SHRIMPKIN Is it still available? BUZZWELL Hang on. (he looks at changing numbers on the board) Two left. And...one of them’s yours. Congratulations Son, step to the side please. "Bee Movie" - JS REVISIONS 8/13/07 17. SANDY SHRIMPKIN Yeah! ADAM (to Sandy, leaving) What did you get? SANDY SHRIMPKIN Picking the crud out. That is stellar! ADAM Wow. BUZZWELL (to Adam and Barry) Couple of newbies? ADAM Yes Sir. Our first day. We are ready. BUZZWELL Well, step up and make your choice. ANGLE ON: A CHART listing the different sectors of Honex. Heating, Cooling, Viscosity, Krelman, Pollen Counting, Stunt Bee, Pouring, Stirrer, Humming, Regurgitating, Front Desk, Hair Removal, Inspector No. 7, Chef, Lint Coordinator, Stripe Supervisor, Antennae-ball polisher, Mite Wrangler, Swatting Counselor, Wax Monkey, Wing Brusher, Hive Keeper, Restroom Attendant. ADAM (to Barry) You want to go first? BARRY No, you go. ADAM Oh my. What’s available? BUZZWELL Restroom attendant is always open, and not for the reason you think. ADAM Any chance of getting on to the Krelman, Sir? BUZZWELL Sure, you’re on. "Bee Movie" - JS REVISIONS 8/13/07 18. He plops the KRELMAN HAT onto Adam’s head. ANGLE ON: The job board. THE COLUMNS READ: “OCCUPATION” “POSITIONS AVAILABLE”, and “STATUS”. The middle column has numbers, and the right column has job openings flipping between “open”, “pending”, and “closed”. BUZZWELL (CONT’D) Oh, I’m sorry. The Krelman just closed

out. ADAM Oh! He takes the hat off Adam. BUZZWELL Wax Monkey’s always open. The Krelman goes from “Closed” to “Open”. BUZZWELL (CONT’D) And the Krelman just opened up again. ADAM What happened? BUZZWELL Well, whenever a bee dies, that’s an opening. (pointing at the board) See that? He’s dead, dead, another dead one, deady, deadified, two more dead. Dead from the neck up, dead from the neck down. But, that’s life. ANGLE ON: Barry’s disturbed expression. ADAM (feeling pressure to decide) Oh, this is so hard. Heating, cooling, stunt bee, pourer, stirrer, humming, inspector no. 7, lint coordinator, stripe supervisor, antenna-ball polisher, mite wrangler-- Barry, Barry, what do you think I should-- Barry? Barry? "Bee Movie" - JS REVISIONS 8/13/07 19. Barry is gone. CUT TO: SEQ. 775 - “LOU LODUCA SPEECH” EXT. J-GATE - SAME TIME Splitz, Jackson, Buzz, Lou and two other BEES are going through final pre-flight checks. Barry ENTERS. LOU LODUCA Alright, we’ve got the sunflower patch in quadrant nine. Geranium window box on Sutton Place... Barry’s antennae rings, like a phone. ADAM (V.O) What happened to you? Where are you? Barry whispers throughout. BARRY I’m going out. ADAM (V.O) Out? Out where? BARRY Out there. ADAM (V.O) (putting it together) Oh no. BARRY I have to, before I go to work for the rest of my life. ADAM (V.O) You’re going to die! You’re crazy! Hello? BARRY Oh, another call coming in. "Bee Movie" - JS REVISIONS 8/13/07 20. ADAM (V.O) You’re cra-- Barry HANGS UP. ANGLE ON: Lou Loduca. LOU LODUCA If anyone’s feeling brave, there’s a Korean Deli on 83rd that gets their roses today. BARRY (timidly) Hey guys. BUZZ Well, look at that. SPLITZ Isn’t that the kid we saw yesterday? LOU LODUCA (to Barry) Hold it son, flight deck’s restricted. JACKSON It’s okay Lou, we’re going to take him up. Splitz and Jackson CHUCKLE. LOU LODUCA Really? Feeling lucky, are ya? A YOUNGER SMALLER BEE THAN BARRY, CHET, runs up with a release waiver for Barry to sign. CHET Sign here. Here. Just initial that. Thank you. LOU LODUCA Okay, you got a rain advisory today and as you all know, bees cannot fly in rain. So be careful. As always, (reading off clipboard) watch your brooms, hockey sticks, dogs, birds, bears, and bats. "Bee Movie" - JS REVISIONS 8/13/07 21. Also, I got a couple reports of root beer being poured on us. Murphy’s in a home because of it, just babbling like a cicada. BARRY That’s awful. LOU LODUCA And a reminder for all you rookies, bee law number one, absolutely no talking to humans. Alright, launch positions! The Jocks get into formation, chanting as they move. LOU LODUCA (CONT’D) Black and Yellow! JOCKS Hello! SPLITZ (to Barry) Are you ready for this, hot shot? BARRY Yeah. Yeah, bring it on. Barry NODS, terrified. BUZZ Wind! - CHECK! JOCK #1 Antennae! - CHECK! JOCK #2 Nectar pack! - CHECK! JACKSON Wings! - CHECK! SPLITZ Stinger! - CHECK! BARRY Scared out of my shorts - CHECK. LOU LODUCA Okay ladies, let’s move it out. Everyone FLIPS their goggles down. Pit crew bees CRANK their wings, and remove the starting blocks. We hear loud HUMMING. "Bee Movie" - JS REVISIONS 8/13/07 22. LOU LODUCA (CONT'D) LOU LODUCA (CONT’D) Pound those petunia's, you striped stem-suckers! All of you, drain those flowers! A FLIGHT DECK GUY in deep crouch hand-signals them out the archway as the backwash from the bee wings FLUTTERS his jump suit. Barry follows everyone. SEQ. 800 - “FLYING WITH THE JOCKS” The bees climb above tree tops in formation. Barry is euphoric. BARRY Whoa! I’m out! I can’t believe I’m out! So blue. Ha ha ha! (a beat) I feel so fast...and free. (re: kites in the sky) Box kite! Wow! They fly by several bicyclists, and approach a patch of flowers. BARRY (CONT'D) Flowers! SPLITZ This is blue leader. We have roses visual. Bring it around thirty degrees and hold. BARRY (sotto) Roses. JACKSON Thirty degrees, roger, bringing it around. Many pollen jocks break off from the main group. They use their equipment to collect nectar from flowers. Barry flies down to watch the jocks collect the nectar. JOCK Stand to the side kid, it’s got a bit of

a kick. The jock fires the gun, and recoils. Barry watches the gun fill up with nectar. "Bee Movie" - JS REVISIONS 8/13/07 23. BARRY Oh, that is one Nectar Collector. JOCK You ever see pollination up close? BARRY No, Sir. He takes off, and the excess pollen dust falls causing the flowers to come back to life. JOCK (as he pollinates) I pick some pollen up over here, sprinkle it over here, maybe a dash over there, pinch on that one...see that? It’s a little bit of magic, ain’t it? The FLOWERS PERK UP as he pollinates. BARRY Wow. That’s amazing. Why do we do that? JOCK ...that’s pollen power, Kid. More pollen, more flowers, more nectar, more honey for us. BARRY Cool. The Jock WINKS at Barry. Barry rejoins the other jocks in the sky. They swoop in over a pond, kissing the surface. We see their image reflected in the water; they’re really moving. They fly over a fountain. BUZZ I’m picking up a lot of bright yellow, could be daisies. Don’t we need those? SPLITZ Copy that visual. We see what appear to be yellow flowers on a green field. "Bee Movie" - JS REVISIONS 8/13/07 24. They go into a deep bank and dive. BUZZ Hold on, one of these flowers seems to be on the move. SPLITZ Say again...Are you reporting a moving flower? BUZZ Affirmative. SEQ. 900 - “TENNIS GAME” The pollen jocks land. It is a tennis court with dozens of tennis balls. A COUPLE, VANESSA and KEN, plays tennis. The bees land right in the midst of a group of balls. KEN (O.C) That was on the line! The other bees start walking around amongst the immense, yellow globes. SPLITZ This is the coolest. What is it? They stop at a BALL on a white line and look up at it. JACKSON I don’t know, but I’m loving this color. SPLITZ (smelling tennis ball) Smells good. Not like a flower. But I like it. JACKSON Yeah, fuzzy. BUZZ Chemical-y. JACKSON Careful, guys, it’s a little grabby. Barry LANDS on a ball and COLLAPSES. "Bee Movie" - JS REVISIONS 8/13/07 25. BARRY Oh my sweet lord of bees. JACKSON Hey, candy brain, get off there! Barry attempts to pulls his legs off, but they stick. BARRY Problem! A tennis shoe and a hand ENTER FRAME. The hand picks up the ball with Barry underneath it. BARRY (CONT'D) Guys! BUZZ This could be bad. JACKSON Affirmative. Vanessa walks back to the service line, BOUNCES the ball. Each time it BOUNCES, the other bees cringe and GASP. ANGLE ON: Barry, terrified. Pure dumb luck, he’s not getting squished. BARRY (with each bounce) Very close...Gonna Hurt...Mamma’s little boy. SPLITZ You are way out of position, rookie. ANGLE ON: Vanessa serving. We see Barry and the ball up against the racket as she brings it back. She tosses the ball into the air; Barry’s eyes widen. The ball is STRUCK, and the rally is on. KEN Coming in at you like a missile! Ken HITS the ball back. Barry feels the g-forces. ANGLE ON: The Pollen Jocks watching Barry pass by them in SLOW MOTION. "Bee Movie" - JS REVISIONS 8/13/07 26. BARRY (in slow motion) Help me! JACKSON You know, I don't think these are flowers. SPLITZ Should we tell him? JACKSON I think he knows. BARRY (O.S) What is this?! Vanessa HITS a high arcing lob. Ken waits, poised for the return. We see Barry having trouble maneuvering the ball from fatigue. KEN (overly confident) Match point! ANGLE ON: Ken running up. He has a killer look in his eyes. He’s going to hit the ultimate overhead smash. KEN (CONT'D) You can just start packing up Honey, because I believe you’re about to eat it! ANGLE ON: Pollen Jocks. JACKSON Ahem! Ken is distracted by the jock. KEN What? No! He misses badly. The ball rockets into oblivion. Barry is still hanging on. ANGLE ON: Ken, berating himself. KEN (CONT’D) Oh, you cannot be serious. We hear the ball WHISTLING, and Barry SCREAMING. "Bee Movie" - JS REVISIONS 8/13/07 27. BARRY Yowser!!! SEQ. 1000 - “SUV” The ball flies through the air, and lands in the middle of the street. It bounces into the street again, and sticks in the grille of an SUV. INT. CAR ENGINE - CONTINUOUS BARRY’S POV: the grille of the SUV sucks him up. He tumbles through a black tunnel, whirling vanes, and pistons. BARRY

AHHHHHHHHHHH!! OHHHH!! EECHHH!! AHHHHHH!! Barry gets chilled by the A/C system, and sees a frozen grasshopper. BARRY (CONT’D) (re: grasshopper) Eww, gross. CUT TO: INT. CAR - CONTINUOUS The car is packed with a typical suburban family: MOTHER, FATHER, eight-year old BOY, LITTLE GIRL in a car seat and a GRANDMOTHER. A big slobbery DOG is behind a grate. Barry pops into the passenger compartment, hitting the Mother’s magazine. MOTHER There’s a bee in the car! They all notice the bee and start SCREAMING. BARRY Aaahhhh! Barry tumbles around the car. We see the faces from his POV. MOTHER Do something! "Bee Movie" - JS REVISIONS 8/13/07 28. FATHER I’m driving! Barry flies by the little girl in her CAR SEAT. She waves hello. LITTLE GIRL Hi, bee. SON He’s back here! He’s going to sting me! The car SWERVES around the road. Barry flies into the back, where the slobbery dog SNAPS at him. Barry deftly avoids the jaws and gross, flying SPITTLE. MOTHER Nobody move. If you don’t move, he won’t sting you. Freeze! Everyone in the car freezes. Barry freezes. They stare at each other, eyes going back and forth, waiting to see who will make the first move. Barry blinks. GRANNY He blinked! Granny pulls out a can of HAIR SPRAY. SON Spray him, Granny! Granny sprays the hair spray everywhere. FATHER What are you doing? GRANNY It’s hair spray! Extra hold! MOTHER Kill it! Barry gets sprayed back by the hair spray, then sucked out of the sunroof. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 29. EXT. CITY STREET - CONTINUOUS BARRY Wow. The tension level out here is unbelievable. I’ve got to get home. As Barry flies down the street, it starts to RAIN. He nimbly avoids the rain at first. BARRY (CONT’D) Whoa. Whoa! Can’t fly in rain! Can’t fly in rain! Can’t fly in-- A couple of drops hit him, his wings go limp and he starts falling. BARRY (CONT'D) Mayday! Mayday! Bee going down! Barry sees a window ledge and aims for it and just makes it. Shivering and exhausted, he crawls into an open window as it CLOSES. SEQ. 1100 - “VANESSA SAVES BARRY” INT. VANESSA’S APARTMENT - CONTINUOUS Inside the window, Barry SHAKES off the rain like a dog. Vanessa, Ken, Andy, and Anna ENTER the apartment. VANESSA Ken, can you close the window please? KEN Huh? Oh. (to Andy) Hey, check out my new resume. I made it into a fold-out brochure. You see? It folds out. Ken holds up his brochure, with photos of himself, and a resume in the middle. ANGLE ON: Barry hiding behind the curtains, as Ken CLOSES THE WINDOW. "Bee Movie" - JS REVISIONS 8/13/07 30. BARRY Oh no, more humans. I don’t need this. Barry HOVERS up into the air and THROWS himself into the glass. BARRY (CONT’D) (dazed) Ow! What was that? He does it again, and then multiple more times. BARRY (CONT'D) Maybe this time...this time, this time, this time, this time, this time, this time, this time. Barry JUMPS onto the drapes. BARRY (CONT'D) (out of breath) Drapes! (then, re: glass) That is diabolical. KEN It’s fantastic. It’s got all my special skills, even my top ten favorite movies. ANDY What’s your number one? Star Wars? KEN Ah, I don’t go for that, (makes Star Wars noises), kind of stuff. ANGLE ON: Barry. BARRY No wonder we’re not supposed to talk to them. They’re out of their minds. KEN When I walk out of a job interview they’re flabbergasted. They can’t believe the things I say. Barry looks around and sees the LIGHT BULB FIXTURE in the middle of the ceiling. "Bee Movie" - JS REVISIONS 8/13/07 31. BARRY (re: light bulb) Oh, there’s the sun. Maybe that’s a way out. Barry takes off and heads straight for the light bulb. His POV: The seventy-five watt label grows as he gets closer. BARRY (CONT’D) I don’t remember the sun having a big seventy five on it. Barry HITS the bulb and is KNOCKED SILLY. He falls into a BOWL OF GUACAMOLE. Andy dips his chip in the guacamole, taking Barry with it. ANGLE ON: Ken and Andy. KEN I’ll tell you what. You know what? I predicted global warming. I could feel it getting hotter. At first I thought it was just me. Barry’s POV: Giant human mouth opening. KEN (CONT’D) Wait! Stop! Beeeeeee! ANNA

Kill it! Kill it! They all JUMP up from their chairs. Andy looks around for something to use. Ken comes in for the kill with a big TIMBERLAND BOOT on each hand. KEN Stand back. These are winter boots. Vanessa ENTERS, and stops Ken from squashing Barry. VANESSA (grabs Ken’s arm) Wait. Don’t kill him. CLOSE UP: on Barry’s puzzled face. KEN You know I’m allergic to them. This thing could kill me. "Bee Movie" - JS REVISIONS 8/13/07 32. VANESSA Why does his life have any less value than yours? She takes a GLASS TUMBLER and places it over Barry. KEN Why does his life have any less value than mine? Is that your statement? VANESSA I’m just saying, all life has value. You don’t know what he’s capable of feeling. Barry looks up through the glass and watches this conversation, astounded. Vanessa RIPS Ken’s resume in half and SLIDES it under the glass. KEN (wistful) My brochure. There’s a moment of eye contact as she carries Barry to the window. She opens it and sets him free. VANESSA There you go, little guy. KEN (O.C) I’m not scared of them. But, you know, it’s an allergic thing. ANDY (O.C) * Hey, why don’t you put that on your * resume-brochure? * KEN (O.C) It’s not funny, my whole face could puff up. ANDY (O.C) Make it one of your “Special Skills.” KEN (O.C) You know, knocking someone out is also a special skill. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 33. EXT. WINDOWSILL - CONTINUOUS Barry stares over the window frame. He can’t believe what’s just happened. It is still RAINING. DISSOLVE TO: SEQ. 1200 - “BARRY SPEAKS” EXT. WINDOWSILL - LATER Barry is still staring through the window. Inside, everyone’s saying their good-byes. KEN Vanessa, next week? Yogurt night? VANESSA Uh, yeah sure Ken. You know, whatever. KEN You can put carob chips on there. VANESSA Good night. KEN (as he exits) Supposed to be less calories, or something. VANESSA Bye. She shuts the door. Vanessa starts cleaning up. BARRY I’ve got to say something. She saved my life. I’ve got to say something. Alright, here it goes. Barry flies in. "Bee Movie" - JS REVISIONS 8/13/07 34. INT. VANESSA’S APARTMENT - CONTINUOUS Barry hides himself on different PRODUCTS placed along the kitchen shelves. He hides on a Bumblebee Tuna can, and a “Greetings From Coney Island” MUSCLE-MAN POSTCARD on the fridge. BARRY (on fridge) What would I say? (landing on a bottle) I could really get in trouble. He stands looking at Vanessa. BARRY (CONT'D) It’s a bee law. You’re not supposed to talk to a human. I can’t believe I’m doing this. I’ve got to. Oh, I can’t do it! Come on! No, yes, no, do it! I can’t. How should I start it? You like jazz? No, that’s no good. Here she comes. Speak, you fool. As Vanessa walks by, Barry takes a DEEP BREATH. BARRY (CONT’D) (cheerful) Umm...hi. Vanessa DROPS A STACK OF DISHES, and HOPS BACK. BARRY (CONT’D) I’m sorry. VANESSA You’re talking. BARRY Yes, I know, I know. VANESSA You’re talking. BARRY I know, I’m sorry. I’m so sorry. VANESSA It’s okay. It’s fine. It’s just, I know I’m dreaming, but I don’t recall going to bed. "Bee Movie" - JS REVISIONS 8/13/07 35. BARRY Well, you know I’m sure this is very disconcerting. VANESSA Well yeah. I mean this is a bit of a surprise to me. I mean...you’re a bee. BARRY Yeah, I am a bee, and you know I’m not supposed to be doing this, but they were all trying to kill me and if it wasn’t for you...I mean, I had to thank you. It’s just the way I was raised. Vanessa intentionally JABS her hand with a FORK. VANESSA Ow! BARRY That was a little weird. VANESSA (to herself) I’m talking to a bee. BARRY Yeah. VANESSA I’m talking to a bee. BARRY Anyway... VANESSA And a bee is talking to me... BARRY I just want you to know that I’m grateful, and I’m going to leave now. VANESSA Wait, wait, wait, wait, how did you learn to do that? BARRY What? "Bee Movie" - JS REVISIONS 8/13/07 36. VANESSA The talking thing. BARRY Same way you did, I guess. Mama, Dada, honey, you pick it up. VANESSA That’s very funny. BARRY Yeah. Bees are funny. If we didn’t laugh, we’d cry. With what we have to deal with. Vanessa LAUGHS. BARRY (CONT’D) Anyway.

VANESSA Can I, uh, get you something? BARRY Like what? VANESSA I don’t know. I mean, I don’t know. Coffee? BARRY Well, uh, I don’t want to put you out. VANESSA It’s no trouble. BARRY Unless you’re making anyway. VANESSA Oh, it takes two minutes. BARRY Really? VANESSA It’s just coffee. BARRY I hate to impose. "Bee Movie" - JS REVISIONS 8/13/07 37. VANESSA Don’t be ridiculous. BARRY Actually, I would love a cup. VANESSA Hey, you want a little rum cake? BARRY I really shouldn’t. VANESSA Have a little rum cake. BARRY No, no, no, I can’t. VANESSA Oh, come on. BARRY You know, I’m trying to lose a couple micrograms here. VANESSA Where? BARRY Well... These stripes don’t help. VANESSA You look great. BARRY I don’t know if you know anything about fashion. Vanessa starts POURING the coffee through an imaginary cup and directly onto the floor. BARRY (CONT'D) Are you alright? VANESSA No. DISSOLVE TO: SEQ. 1300 - “ROOFTOP COFFEE” "Bee Movie" - JS REVISIONS 8/13/07 38. EXT. VANESSA’S ROOF - LATER Barry and Vanessa are drinking coffee on her roof terrace. He is perched on her keychain. BARRY ...He can’t get a taxi. He’s making the tie in the cab, as they’re flying up Madison. So he finally gets there. VANESSA Uh huh? BARRY He runs up the steps into the church, the wedding is on... VANESSA Yeah? BARRY ...and he says, watermelon? I thought you said Guatemalan. VANESSA Uh huh? BARRY Why would I marry a watermelon? Barry laughs. Vanessa doesn’t. VANESSA Oh! Is that, uh, a bee joke? BARRY Yeah, that’s the kind of stuff that we do. VANESSA Yeah, different. A BEAT. VANESSA (CONT’D) So anyway...what are you going to do, Barry? "Bee Movie" - JS REVISIONS 8/13/07 39. BARRY About work? I don’t know. I want to do my part for the hive, but I can’t do it the way they want. VANESSA I know how you feel. BARRY You do? VANESSA Sure, my parents wanted me to be a lawyer or doctor, but I wanted to be a florist. BARRY Really? VANESSA My only interest is flowers. BARRY Our new queen was just elected with that same campaign slogan. VANESSA Oh. BARRY Anyway, see there’s my hive, right there. You can see it. VANESSA Oh, you’re in Sheep Meadow. BARRY (excited) Yes! You know the turtle pond? VANESSA Yes? BARRY I’m right off of that. VANESSA Oh, no way. I know that area. Do you know I lost a toe-ring there once? BARRY Really? "Bee Movie" - JS REVISIONS 8/13/07 40. VANESSA Yes. BARRY Why do girls put rings on their toes? VANESSA Why not? BARRY I don’t know. It’s like putting a hat on your knee. VANESSA Really? Okay. A JANITOR in the background changes a LIGHTBULB. To him, it appears that Vanessa is talking to an imaginary friend. JANITOR You all right, ma’am? VANESSA Oh, yeah, fine. Just having two cups of coffee. BARRY Anyway, this has been great. (wiping his mouth) Thanks for the coffee. Barry gazes at Vanessa. VANESSA Oh yeah, it’s no trouble. BARRY Sorry I couldn’t finish it. Vanessa giggles. BARRY (CONT'D) (re: coffee) If I did, I’d be up the rest of my life. Ummm. Can I take a piece of this with me? VANESSA Sure. Here, have a crumb. She takes a CRUMB from the plate and hands it to Barry. "Bee Movie" - JS REVISIONS 8/13/07 41. BARRY (a little dreamy) Oh, thanks. VANESSA Yeah. There is an awkward pause. BARRY Alright, well then, I guess I’ll see you around, or not, or... VANESSA Okay Barry. BARRY And thank you so much again, for before. VANESSA Oh that? BARRY Yeah. VANESSA Oh, that was nothing. BARRY Well, not nothing, but, anyway... Vanessa extends her hand, and shakes Barry’s gingerly. The Janitor watches. The lightbulb shorts out. The Janitor FALLS. CUT TO: SEQ. 1400 - “HONEX” INT. HONEX BUILDING - NEXT DAY ANGLE ON: A TEST BEE WEARING A PARACHUTE is in a wind tunnel, hovering through increasingly heavy wind. SIGNS UNDER A FLASHING LIGHT READ: “Test In Progress” & “Hurricane Survival Test”. 2 BEES IN A LAB COATS are observing behind glass. "Bee Movie" - JS REVISIONS 8/13/07 42. LAB COAT BEE 1 This can’t possibly work. LAB COAT BEE 2 Well, he’s all set to go, we may as well try it. (into the mic) Okay Dave, pull the chute. The test bee opens his parachute.

He’s instantly blown against the rear wall. Adam and Barry ENTER. ADAM Sounds amazing. BARRY Oh, it was amazing. It was the scariest, happiest moment of my life. ADAM Humans! Humans! I can’t believe you were with humans! Giant scary humans! What were they like? BARRY Huge and crazy. They talk crazy, they eat crazy giant things. They drive around real crazy. ADAM And do they try and kill you like on TV? BARRY Some of them. But some of them don’t. ADAM How’d you get back? BARRY Poodle. ADAM Look, you did it. And I’m glad. You saw whatever you wanted to see out there, you had your “experience”, and now you’re back, you can pick out your job, and everything can be normal. "Bee Movie" - JS REVISIONS 8/13/07 43. ANGLE ON: LAB BEES examining a CANDY CORN through a microscope. BARRY Well... ADAM Well? BARRY Well, I met someone. ADAM You met someone? Was she Bee-ish? BARRY Mmm. ADAM Not a WASP? Your parents will kill you. BARRY No, no, no, not a wasp. ADAM Spider? BARRY You know, I’m not attracted to the spiders. I know to everyone else it’s like the hottest thing with the eight legs and all. I can’t get by that face. Barry makes a spider face. ADAM So, who is she? BARRY She’s a human. ADAM Oh no, no, no, no. That didn’t happen. You didn’t do that. That is a bee law. You wouldn’t break a bee law. BARRY Her name’s Vanessa. "Bee Movie" - JS REVISIONS 8/13/07 44. ADAM Oh, oh boy! BARRY She’s so-o nice. And she’s a florist! ADAM Oh, no. No, no, no! You’re dating a human florist? BARRY We’re not dating. ADAM You’re flying outside the hive. You’re talking to human beings that attack our homes with power washers and M-80’s. That’s 1/8 of a stick of dynamite. BARRY She saved my life. And she understands me. ADAM This is over. Barry pulls out the crumb. BARRY Eat this. Barry stuffs the crumb into Adam’s face. ADAM This is not over. What was that? BARRY They call it a crumb. ADAM That was SO STINGING STRIPEY! BARRY And that’s not even what they eat. That just falls off what they eat. Do you know what a Cinnabon is? ADAM No. "Bee Movie" - JS REVISIONS 8/13/07 45. BARRY It’s bread... ADAM Come in here! BARRY and cinnamon, ADAM Be quiet! BARRY and frosting...they heat it up-- ADAM Sit down! INT. ADAM’S OFFICE - CONTINUOUS BARRY Really hot! ADAM Listen to me! We are not them. We’re us. There’s us and there’s them. BARRY Yes, but who can deny the heart that is yearning... Barry rolls his chair down the corridor. ADAM There’s no yearning. Stop yearning. Listen to me. You have got to start thinking bee, my friend. ANOTHER BEE JOINS IN. ANOTHER BEE Thinking bee. WIDER SHOT AS A 3RD BEE ENTERS, popping up over the cubicle wall. 3RD BEE Thinking bee. EVEN WIDER SHOT AS ALL THE BEES JOIN IN. "Bee Movie" - JS REVISIONS 8/13/07 46. OTHER BEES Thinking bee. Thinking bee. Thinking bee. CUT TO: SEQ. 1500 - “POOLSIDE NAGGING” EXT. BACKYARD PARENT’S HOUSE - DAY Barry sits on a RAFT in a hexagon honey pool, legs dangling into the water. Janet Benson and Martin Benson stand over him wearing big, sixties sunglasses and cabana-type outfits. The sun shines brightly behind their heads. JANET BENSON (O.C) There he is. He’s in the pool. MARTIN BENSON You know what your problem is, Barry? BARRY I’ve got to start thinking bee? MARTIN BENSON Barry, how much longer is this going to go on? It’s been three days. I don’t understand why you’re not working. BARRY Well, I’ve got a lot of big life decisions I’m thinking about. MARTIN BENSON What life? You have no life! You have no job! You’re barely a bee! Barry throws his hands in the air. BARRY Augh. JANET BENSON Would it kill you to just make a little honey? Barry ROLLS off the raft and SINKS to the bottom of the pool. We hear his parents’ MUFFLED VOICES from above the surface. "Bee Movie" - JS REVISIONS 8/13/07 47. JANET BENSON (CONT'D) (muffled) Barry, come out from under there. Your father’s talking to you. Martin, would you talk to him? MARTIN BENSON Barry, I’m talking to you. DISSOLVE TO: EXT. PICNIC AREA - DAY MUSIC: “Sugar Sugar” by the Archies. Barry and Vanessa are having a picnic. A MOSQUITO lands on Vanessa’s

leg. She SWATS it violently. Barry’s head whips around, aghast. They stare at each other awkwardly in a frozen moment, then BURST INTO HYSTERICAL LAUGHTER. Vanessa GETS UP. VANESSA You coming? BARRY Got everything? VANESSA All set. Vanessa gets into a one-man Ultra Light plane with a black and yellow paint scheme. She puts on her helmet. BARRY You go ahead, I’ll catch up. VANESSA (come hither wink) Don’t be too long. The Ultra Light takes off. Barry catches up. They fly sideby-side. VANESSA (CONT’D) Watch this! Vanessa does a loop, and FLIES right into the side of a mountain, BURSTING into a huge ball of flames. "Bee Movie" - JS REVISIONS 8/13/07 48. BARRY (yelling, anguished) Vanessa! EXT. BARRY’S PARENT’S HOUSE - CONTINUOUS ANGLE ON: Barry’s face bursting through the surface of the pool, GASPING for air, eyes opening in horror. MARTIN BENSON We’re still here, Barry. JANET BENSON I told you not to yell at him. He doesn’t respond when you yell at him. MARTIN BENSON Then why are you yelling at me? JANET BENSON Because you don’t listen. MARTIN BENSON I’m not listening to this. Barry is toweling off, putting on his sweater. BARRY Sorry Mom, I’ve got to go. JANET BENSON Where are you going? BARRY Nowhere. I’m meeting a friend. Barry JUMPS off the balcony and EXITS. JANET BENSON (calling after him) A girl? Is this why you can’t decide? BARRY Bye! JANET BENSON I just hope she’s Bee-ish. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 49. SEQ. 1700 - “STREETWALK/SUPERMARKET” EXT. VANESSA’S FLORIST SHOP - DAY Vanessa FLIPS the sign to say “Sorry We Missed You”, and locks the door. ANGLE ON: A POSTER on Vanessa’s door for the Tournament of Roses Parade in Pasadena. BARRY So they have a huge parade of just flowers every year in Pasadena? VANESSA Oh, to be in the Tournament of Roses, that’s every florist’s dream. Up on a float, surrounded by flowers, crowds cheering. BARRY Wow, a tournament. Do the roses actually compete in athletic events? VANESSA No. Alright, I’ve got one. How come you don’t fly everywhere? BARRY It’s exhausting. Why don’t you run everywhere? VANESSA Hmmm. BARRY Isn’t that faster? VANESSA Yeah, okay. I see, I see. Alright, your turn. Barry and Vanessa walk/fly down a New York side street, no other pedestrians near them. BARRY Ah! Tivo. You can just freeze live TV? That’s insane. "Bee Movie" - JS REVISIONS 8/13/07 50. VANESSA What, you don’t have anything like that? BARRY We have Hivo, but it’s a disease. It’s a horrible, horrible disease. VANESSA Oh my. They turn the corner onto a busier avenue and people start to swat at Barry. MAN Dumb bees! VANESSA You must just want to sting all those jerks. BARRY We really try not to sting. It’s usually fatal for us. VANESSA So you really have to watch your temper? They ENTER a SUPERMARKET. CUT TO: INT. SUPERMARKET BARRY Oh yeah, very carefully. You kick a wall, take a walk, write an angry letter and throw it out. You work through it like any emotion-- anger, jealousy, (under his breath) lust. Barry hops on top of some cardboard boxes in the middle of an aisle. A stock boy, HECTOR, whacks him with a rolled up magazine. VANESSA (to Barry) Oh my goodness. Are you okay? "Bee Movie" - JS REVISIONS 8/13/07 51. BARRY Yeah. Whew! Vanessa WHACKS Hector over the head with the magazine. VANESSA (to Hector) What is wrong with you?! HECTOR It’s a bug. VANESSA Well he’s not bothering anybody. Get out of here, you creep. Vanessa pushes him, and Hector EXITS, muttering. BARRY (shaking it off) What was that, a Pick and Save circular? VANESSA Yeah, it was. How did you know? BARRY It felt like about ten pages. Seventy-five’s pretty much our limit. VANESSA Boy, you’ve really got that down to a science. BARRY Oh, we have to. I lost a cousin to Italian Vogue. VANESSA I’ll bet. Barry stops, sees the wall of honey jars. BARRY What, in the name of Mighty Hercules, is this? How did this get here? Cute Bee? Golden Blossom? Ray Liotta Private Select? VANESSA Is he that actor? "Bee Movie" - JS REVISIONS 8/13/07 52. BARRY I never heard of him. Why is this here? VANESSA For people. We eat it. BARRY Why?

(gesturing around the market) You don’t have enough food of your own? VANESSA Well yes, we-- BARRY How do you even get it? VANESSA Well, bees make it... BARRY I know who makes it! And it’s hard to make it! There’s Heating and Cooling, and Stirring...you need a whole Krelman thing. VANESSA It’s organic. BARRY It’s our-ganic! VANESSA It’s just honey, Barry. BARRY Just...what?! Bees don’t know about this. This is stealing. A lot of stealing! You’ve taken our homes, our schools, our hospitals. This is all we have. And it’s on sale? I’m going to get to the bottom of this. I’m going to get to the bottom of all of this! He RIPS the label off the Ray Liotta Private Select. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 53. SEQ. 1800 - “WINDSHIELD” EXT. BACK OF SUPERMARKET LOADING DOCK - LATER THAT DAY Barry disguises himself by blacking out his yellow lines with a MAGIC MARKER and putting on some war paint. He sees Hector, the stock boy, with a knife CUTTING open cardboard boxes filled with honey jars. MAN You almost done? HECTOR Almost. Barry steps in some honey, making a SNAPPING noise. Hector stops and turns. HECTOR (CONT’D) He is here. I sense it. Hector grabs his BOX CUTTER. Barry REACTS, hides himself behind the box again. HECTOR (CONT’D) (talking too loud, to no one in particular) Well, I guess I’ll go home now, and just leave this nice honey out, with no one around. A BEAT. Hector pretends to exit. He takes a couple of steps in place. ANGLE ON: The honey jar. Barry steps out into a moody spotlight. BARRY You’re busted, box boy! HECTOR Ah ha! I knew I heard something. So, you can talk. Barry flies up, stinger out, pushing Hector up against the wall. As Hector backs up, he drops his knife. BARRY Oh, I can talk. And now you’re going to start talking. "Bee Movie" - JS REVISIONS 8/13/07 54. Where are you getting all the sweet stuff? Who’s your supplier?! HECTOR I don’t know what you’re talking about. I thought we were all friends. The last thing we want to do is upset any of you...bees! Hector grabs a PUSHPIN. Barry fences with his stinger. HECTOR (CONT’D) You’re too late. It’s ours now! BARRY You, sir, have crossed the wrong sword. HECTOR You, sir, are about to be lunch for my iguana, Ignacio! Barry and Hector get into a cross-swords, nose-to-nose confrontation. BARRY Where is the honey coming from? Barry knocks the pushpin out of his hand. Barry puts his stinger up to Hector’s nose. BARRY (CONT'D) Tell me where?! HECTOR (pointing to a truck) Honey Farms. It comes from Honey Farms. ANGLE ON: A Honey Farms truck leaving the parking lot. Barry turns, takes off after the truck through an alley. He follows the truck out onto a busy street, dodging a bus, and several cabs. CABBIE Crazy person! He flies through a metal pipe on the top of a truck. BARRY OOOHHH! "Bee Movie" - JS REVISIONS 8/13/07 55. BARRY (CONT'D) Barry grabs onto a bicycle messenger’s backpack. The honey farms truck starts to pull away. Barry uses the bungee cord to slingshot himself towards the truck. He lands on the windshield, where the wind plasters him to the glass. He looks up to find himself surrounded by what appear to be DEAD BUGS. He climbs across, working his way around the bodies. BARRY (CONT’D) Oh my. What horrible thing has happened here? Look at these faces. They never knew what hit them. And now they’re on the road to nowhere. A MOSQUITO opens his eyes. MOOSEBLOOD Pssst! Just keep still. BARRY What? You’re not dead? MOOSEBLOOD Do I look dead? Hey man, they will wipe anything that moves. Now, where are you headed? BARRY To Honey Farms. I am onto something huge here. MOOSEBLOOD I’m going to Alaska. Moose blood. Crazy stuff. Blows your head off. LADYBUG I’m going to Tacoma. BARRY (to fly) What about you? MOOSEBLOOD He really is dead. BARRY Alright. The WIPER comes towards them. "Bee Movie" - JS REVISIONS 8/13/07 56. MOOSEBLOOD Uh oh. BARRY What is that? MOOSEBLOOD Oh no! It’s a wiper, triple blade! BARRY Triple blade? MOOSEBLOOD Jump on. It’s your only chance, bee. They hang on as the wiper goes back and forth. MOOSEBLOOD (CONT'D) (yelling to the truck

driver through the glass) Why does everything have to be so dog-gone clean?! How much do you people need to see? Open your eyes! Stick your head out the window! CUT TO: INT. TRUCK CAB SFX: Radio. RADIO VOICE For NPR News in Washington, I’m Carl Kasell. EXT. TRUCK WINDSHIELD MOOSEBLOOD But don’t kill no more bugs! The Mosquito is FLUNG off of the wiper. MOOSEBLOOD (CONT'D) Beeeeeeeeeeeeee! BARRY Moose blood guy! "Bee Movie" - JS REVISIONS 8/13/07 57. Barry slides toward the end of the wiper, is thrown off, but he grabs the AERIAL and hangs on for dear life. Barry looks across and sees a CRICKET on another vehicle in the exact same predicament. They look at each other and SCREAM in unison. BARRY AND CRICKET Aaaaaaaaaah! ANOTHER BUG grabs onto the aerial, and screams as well. INT. TRUCK CAB - SAME TIME DRIVER You hear something? TRUCKER PASSENGER Like what? DRIVER Like tiny screaming. TRUCKER PASSENGER Turn off the radio. The driver reaches down and PRESSES a button, lowering the aerial. EXT. TRUCK WINDSHIELD - SAME TIME Barry and the other bug do a “choose up” to the bottom, Barry wins. BARRY Aha! Then he finally has to let go and gets thrown into the truck horn atop cab. Mooseblood is inside. MOOSEBLOOD Hey, what’s up bee boy? BARRY Hey, Blood! DISSOLVE TO: "Bee Movie" - JS REVISIONS 8/13/07 58. INT. TRUCK HORN - LATER BARRY ...and it was just an endless row of honey jars as far as the eye could see. MOOSEBLOOD Wow. BARRY So I’m just assuming wherever this honey truck goes, that’s where they’re getting it. I mean, that honey’s ours! MOOSEBLOOD Bees hang tight. BARRY Well, we’re all jammed in there. It’s a close community. MOOSEBLOOD Not us, man. We’re on our own. Every mosquito is on his own. BARRY But what if you get in trouble? MOOSEBLOOD Trouble? You're a mosquito. You're in trouble! Nobody likes us. They’re just all smacking. People see a mosquito, smack, smack! BARRY At least you’re out in the world. You must meet a lot of girls. MOOSEBLOOD Mosquito girls try to trade up; get with a moth, dragonfly...mosquito girl don’t want no mosquito. A BLOOD MOBILE pulls up alongside. MOOSEBLOOD (CONT'D) Whoa, you have got to be kidding me. Mooseblood’s about to leave the building. So long bee. "Bee Movie" - JS REVISIONS 8/13/07 59. Mooseblood EXITS the horn, and jumps onto the blood mobile. MOOSEBLOOD (CONT'D) Hey guys. I knew I’d catch you all down here. Did you bring your crazy straws? CUT TO: SEQ. 1900 - “THE APIARY” EXT. APIARY - LATER Barry sees a SIGN, “Honey Farms” The truck comes to a stop. SFX: The Honey farms truck blares its horn. Barry flies out, lands on the hood. ANGLE ON: Two BEEKEEPERS, FREDDY and ELMO, walking around to the back of the gift shop. Barry follows them, and lands in a nearby tree FREDDY ...then we throw it in some jars, slap a label on it, and it’s pretty much pure profit. BARRY What is this place? ELMO Bees got a brain the size of a pinhead. FREDDY They are pinheads. The both LAUGH. ANGLE ON: Barry REACTING. They arrive at the back of the shop where one of them opens a SMOKER BOX. FREDDY (CONT’D) Hey, check out the new smoker. "Bee Movie" - JS REVISIONS 8/13/07 60. ELMO Oh, Sweet. That’s the one you want. FREDDY The Thomas 3000. BARRY Smoker? FREDDY 90 puffs a minute, semi-automatic. Twice the nicotine, all the tar. They LAUGH again, nefariously. FREDDY (CONT’D) Couple of breaths of this, and it knocks them right out. They make the honey, and we make the money. BARRY “They make the honey, and we make the money?” Barry climbs onto the netting of Freddy’s hat. He climbs up to the brim and looks over the edge. He sees the apiary boxes as Freddy SMOKES them. BARRY (CONT'D) Oh my. As Freddy turns around, Barry jumps into an open apiary box, and into an apartment. HOWARD and FRAN are just coming to from the smoking. BARRY (CONT’D) What’s going on? Are you okay? HOWARD Yeah, it doesn’t last too long. HE COUGHS a few times. BARRY How did you two get here? Do you know you’re in a fake hive with fake walls? HOWARD (pointing to a picture on the wall) "Bee Movie" - JS REVISIONS 8/13/07 61. Our queen was

moved here, we had no choice. BARRY (looking at a picture on the wall) This is your queen? That’s a man in women’s clothes. That’s a dragqueen! The other wall opens. Barry sees the hundreds of apiary boxes. BARRY (CONT'D) What is this? Barry pulls out his camera, and starts snapping. BARRY (CONT’D) Oh no. There’s hundreds of them. (V.O, as Barry takes pictures) Bee honey, our honey, is being brazenly stolen on a massive scale. CUT TO: SEQ. 2100 - “BARRY TELLS FAMILY” INT. BARRY’S PARENT’S HOUSE - LIVING ROOM - LATER Barry has assembled his parents, Adam, and Uncle Carl. BARRY This is worse than anything the bears have done to us. And I intend to do something about it. JANET BENSON Oh Barry, stop. MARTIN BENSON Who told you that humans are taking our honey? That’s just a rumor. BARRY Do these look like rumors? Barry throws the PICTURES on the table. Uncle Carl, cleaning his glasses with his shirt tail, digs through a bowl of nuts with his finger. "Bee Movie" - JS REVISIONS 8/13/07 62. HOWARD (CONT'D) UNCLE CARL That’s a conspiracy theory. These are obviously doctored photos. JANET BENSON Barry, how did you get mixed up in all this? ADAM (jumping up) Because he’s been talking to humans! JANET BENSON Whaaat? MARTIN BENSON Talking to humans?! Oh Barry. ADAM He has a human girlfriend and they make out! JANET BENSON Make out? Barry? BARRY We do not. ADAM You wish you could. BARRY Who’s side are you on? ADAM The bees! Uncle Carl stands up and pulls his pants up to his chest. UNCLE CARL I dated a cricket once in San Antonio. Man, those crazy legs kept me up all night. Hotcheewah! JANET BENSON Barry, this is what you want to do with your life? BARRY This is what I want to do for all our lives. Nobody works harder than bees. "Bee Movie" - JS REVISIONS 8/13/07 63. Dad, I remember you coming home some nights so overworked, your hands were still stirring. You couldn’t stop them. MARTIN BENSON Ehhh... JANET BENSON (to Martin) I remember that. BARRY What right do they have to our hardearned honey? We’re living on two cups a year. They’re putting it in lip balm for no reason what-soever. MARTIN BENSON Even if it’s true, Barry, what could one bee do? BARRY I’m going to sting them where it really hurts. MARTIN BENSON In the face? BARRY No. MARTIN BENSON In the eye? That would really hurt. BARRY No. MARTIN BENSON Up the nose? That’s a killer. BARRY No. There’s only one place you can sting the humans. One place where it really matters. CUT TO: SEQ. 2300 - “HIVE AT 5 NEWS/BEE LARRY KING” "Bee Movie" - JS REVISIONS 8/13/07 64. BARRY (CONT'D) INT. NEWS STUDIO - DAY DRAMATIC NEWS MUSIC plays as the opening news sequence rolls. We see the “Hive at Five” logo, followed by shots of past news events: A BEE freeway chase, a BEE BEARD protest rally, and a BEAR pawing at the hive as the BEES flee in panic. BOB BUMBLE (V.O.) Hive at Five, the hive’s only full hour action news source... SHOTS of NEWSCASTERS flash up on screen. BOB BUMBLE (V.O.) (CONT'D) With Bob Bumble at the anchor desk... BOB has a big shock of anchorman hair, gray temples and overly white teeth. BOB BUMBLE (V.O.) (CONT'D) ...weather with Storm Stinger, sports with Buzz Larvi, and Jeanette Chung. JEANETTE is an Asian bee. BOB BUMBLE (CONT'D) Good evening, I’m Bob Bumble. JEANETTE CHUNG And I’m Jeanette Chung. BOB BUMBLE Our top story, a tri-county bee, Barry Benson... INSERT: Barry’s graduation picture. BOB BUMBLE (CONT'D) ...is saying he intends to sue the human race for stealing our honey, packaging it, and profiting from it illegally. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 65. INT. BEENN STUDIO - BEE LARRY KING LIVE BEE LARRY KING, wearing suspenders and glasses, is interviewing Barry. A LOWER-THIRD CHYRON reads: “Bee Larry King Live.” BEE LARRY KING Don’t forget, tomorrow night on Bee Larry King, we are going to have three former Queens all right here in our studio discussing their new book, “Classy Ladies,” out this week on Hexagon. (to Barry) Tonight, we’re talking to Barry Benson. Did you ever think, I’m just a kid from the hive, I can’t do this? BARRY Larry, bees have

never been afraid to change the world. I mean, what about Bee-Columbus? Bee-Ghandi? Be-geesus? BEE LARRY KING Well, where I’m from you wouldn’t think of suing humans. We were thinking more like stick ball, candy stores. BARRY How old are you? BEE LARRY KING I want you to know that the entire bee community is supporting you in this case, which is certain to be the trial of the bee century. BARRY Thank you, Larry. You know, they have a Larry King in the human world, too. BEE LARRY KING It’s a common name. Next week on Bee Larry King... "Bee Movie" - JS REVISIONS 8/13/07 66. BARRY No, I mean he looks like you. And he has a show with suspenders and different colored dots behind him. BEE LARRY KING Next week on Bee Larry King... BARRY Old guy glasses, and there’s quotes along the bottom from the guest you’re watching even though you just heard them... BEE LARRY KING Bear week next week! They’re scary, they’re hairy, and they’re here live. Bee Larry King EXITS. BARRY Always leans forward, pointy shoulders, squinty eyes... (lights go out) Very Jewish. CUT TO: SEQ. 2400 - “FLOWER SHOP” INT. VANESSA’S FLOWER SHOP - NIGHT Stacks of law books are piled up, legal forms, etc. Vanessa is talking with Ken in the other room. KEN Look, in tennis, you attack at the point of weakness. VANESSA But it was my grandmother, Ken. She’s 81. KEN Honey, her backhand’s a joke. I’m not going to take advantage of that? "Bee Movie" - JS REVISIONS 8/13/07 67. BARRY (O.C) Quiet please. Actual work going on here. KEN Is that that same bee? BARRY (O.C) Yes it is. VANESSA I’m helping him sue the human race. KEN What? Barry ENTERS. BARRY Oh, hello. KEN Hello Bee. Barry flies over to Vanessa. VANESSA This is Ken. BARRY Yeah, I remember you. Timberland, size 10 1/2, Vibram sole I believe. KEN Why does he talk again, Hun? VANESSA (to Ken, sensing the tension) Listen, you’d better go because we’re really busy working. KEN But it’s our yogurt night. VANESSA (pushing him out the door) Oh...bye bye. She CLOSES the door. KEN Why is yogurt night so difficult?! "Bee Movie" - JS REVISIONS 8/13/07 68. Vanessa ENTERS the back room carrying coffee. VANESSA Oh you poor thing, you two have been at this for hours. BARRY Yes, and Adam here has been a huge help. ANGLE ON: A EMPTY CINNABON BOX with Adam asleep inside, covered in frosting. VANESSA How many sugars? BARRY Just one. I try not to use the competition. So, why are you helping me, anyway? VANESSA Bees have good qualities. BARRY (rowing on the sugar cube like a gondola) Si, Certo. VANESSA And it feels good to take my mind off the shop. I don’t know why, instead of flowers, people are giving balloon bouquets now. BARRY Yeah, those are great...if you’re 3. VANESSA And artificial flowers. BARRY (re: plastic flowers) Oh, they just get me psychotic! VANESSA Yeah, me too. BARRY The bent stingers, the pointless pollination. "Bee Movie" - JS REVISIONS 8/13/07 69. VANESSA Bees must hate those fake plastic things. BARRY There’s nothing worse than a daffodil that’s had work done. VANESSA (holding up the lawsuit documents) Well, maybe this can make up for it a little bit. CUT TO: EXT. VANESSA’S FLORIST SHOP They EXIT the store, and cross to the mailbox. VANESSA You know Barry, this lawsuit is a pretty big deal. BARRY I guess. VANESSA Are you sure that you want to go through with it? BARRY Am I sure? (kicking the envelope into the mailbox) When I’m done with the humans, they won’t be able to say, “Honey, I’m home,” without paying a royalty. CUT TO: SEQ. 2700 - “MEET MONTGOMERY” EXT. MANHATTAN COURTHOUSE - DAY P.O.V SHOT - A camera feed turns on, revealing a newsperson. "Bee Movie" - JS REVISIONS 8/13/07 70. PRESS PERSON #2 (talking to camera) Sarah, it’s an incredible scene here in downtown Manhattan where all eyes and ears of the world are anxiously waiting, because for the first time in history, we’re going to hear for ourselves if a honey bee can actually speak. ANGLE ON: Barry, Vanessa, and Adam getting out of the cab. The press spots Barry and Vanessa and pushes in. Adam sits on Vanessa’s shoulder. INT. COURTHOUSE -

CONTINUOUS Barry, Vanessa, and Adam sit at the Plaintiff’s Table. VANESSA (turns to Barry) What have we gotten into here, Barry? BARRY I don’t know, but it’s pretty big, isn’t it? ADAM I can’t believe how many humans don’t have to be at work during the day. BARRY Hey, you think these billion dollar multinational food companies have good lawyers? CUT TO: EXT. COURTHOUSE STEPS - CONTINUOUS A BIG BLACK CAR pulls up. ANGLE ON: the grill filling the frame. We see the “L.T.M” monogram on the hood ornament. The defense lawyer, LAYTON T. MONTGOMERY comes out, squashing a bug on the pavement. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 71. INT. COURTHOUSE - CONTINUOUS Barry SHUDDERS. VANESSA What’s the matter? BARRY I don’t know. I just got a chill. Montgomery ENTERS. He walks by Barry’s table shaking a honey packet. MONTGOMERY Well, if it isn’t the B-Team. (re: the honey packet) Any of you boys work on this? He CHUCKLES. The JUDGE ENTERS. SEQ. 3000 - “WITNESSES” BAILIFF All rise! The Honorable Judge Bumbleton presiding. JUDGE (shuffling papers) Alright...Case number 4475, Superior Court of New York. Barry Bee Benson vs. the honey industry, is now in session. Mr. Montgomery, you are representing the five major food companies, collectively. ANGLE ON: Montgomery’s BRIEFCASE. It has an embossed emblem of an EAGLE, holding a gavel in one talon and a briefcase in the other. MONTGOMERY A privilege. JUDGE Mr. Benson. Barry STANDS. JUDGE (CONT’D) You are representing all bees of the world? "Bee Movie" - JS REVISIONS 8/13/07 72. Montgomery, the stenographer, and the jury lean in. CUT TO: EXT. COURTHOUSE - CONTINUOUS The spectators outside freeze. The helicopters angle forward to listen closely. CUT TO: INT. COURTHOUSE BARRY Bzzz bzzz bzzz...Ahh, I’m kidding, I’m kidding. Yes, your honor. We are ready to proceed. ANGLE ON: Courtroom hub-bub. JUDGE And Mr. Montgomery, your opening statement, please. Montgomery rises. MONTGOMERY (grumbles, clears his throat) Ladies and gentlemen of the jury. My grandmother was a simple woman. Born on a farm, she believed it was man's divine right to benefit from the bounty of nature God put before us. If we were to live in the topsy-turvy world Mr. Benson imagines, just think of what it would mean. Maybe I would have to negotiate with the silk worm for the elastic in my britches. Talking bee. How do we know this isn’t some sort of holographic motion picture capture Hollywood wizardry? They could be using laser beams, robotics, ventriloquism, cloning...for all we know he could be on steroids! Montgomery leers at Barry, who moves to the stand. "Bee Movie" - JS REVISIONS 8/13/07 73. JUDGE Mr. Benson? Barry makes his opening statement. BARRY Ladies and Gentlemen of the jury, there’s no trickery here. I’m just an ordinary bee. And as a bee, honey’s pretty important to me. It’s important to all bees. We invented it, we make it, and we protect it with our lives. Unfortunately, there are some people in this room who think they can take whatever they want from us cause we’re the little guys. And what I’m hoping is that after this is all over, you’ll see how by taking our honey, you’re not only taking away everything we have, but everything we are. ANGLE ON: Vanessa smiling. ANGLE ON: The BEE GALLERY wiping tears away. CUT TO: INT. BENSON HOUSE Barry’s family is watching the case on TV. JANET BENSON Oh, I wish he would dress like that all the time. So nice... CUT TO: INT. COURTROOM - LATER JUDGE Call your first witness. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 74. INT. COURTHOUSE - LATER BARRY So, Mr. Klauss Vanderhayden of Honey Farms. Pretty big company you have there? MR. VANDERHAYDEN I suppose so. BARRY And I see you also own HoneyBurton, and Hon-Ron. MR. VANDERHAYDEN Yes. They provide beekeepers for our farms. BARRY Beekeeper. I find that to be a very disturbing term, I have to say. I don’t imagine you employ any bee free-ers, do you? MR. VANDERHAYDEN No. BARRY I’m sorry. I couldn’t hear you. MR. VANDERHAYDEN (louder) No. BARRY No. Because you don’t free bees. You keep bees. And not only that, it seems you

thought a bear would be an appropriate image for a jar of honey? MR. VANDERHAYDEN Well, they’re very lovable creatures. Yogi-bear, Fozzy-bear, Build-a-bear. BARRY Yeah, you mean like this?! Vanessa and the SUPERINTENDANT from her building ENTER with a GIANT FEROCIOUS GRIZZLY BEAR. He has a neck collar and chains extending from either side. "Bee Movie" - JS REVISIONS 8/13/07 75. By pulling the chains, they bring him directly in front of Vanderhayden. The bear LUNGES and ROARS. BARRY (CONT'D) Bears kill bees! How would you like his big hairy head crashing into your living room? Biting into your couch, spitting out your throwpillows...rowr, rowr! The bear REACTS. BEAR Rowr!! BARRY Okay, that’s enough. Take him away. Vanessa and the Superintendant pull the bear out of the courtroom. Vanderhayden TREMBLES. The judge GLARES at him. CUT TO: INT. COURTROOM- A LITTLE LATER Barry questions STING. BARRY So, Mr. Sting. Thank you for being here. Your name intrigues me, I have to say. Where have I heard it before? STING I was with a band called "The Police". BARRY But you've never been a police officer of any kind, have you? STING No, I haven't. "Bee Movie" - JS REVISIONS 8/13/07 76. BARRY No, you haven’t. And so, here we have yet another example of bee culture being casually stolen by a human for nothing more than a prance-about stage name. STING Oh please. BARRY Have you ever been stung, Mr. Sting? Because I'm feeling a little stung, Sting. Or should I say, (looking in folder) Mr. Gordon M. Sumner? The jury GASPS. MONTGOMERY (to his aides) That’s not his real name? You idiots! CUT TO: INT. COURTHOUSE- LATER BARRY Mr. Liotta, first may I offer my belated congratulations on your Emmy win for a guest spot on E.R. in 2005. LIOTTA Thank you. Thank you. Liotta LAUGHS MANIACALLY. BARRY I also see from your resume that you’re devilishly handsome, but with a churning inner turmoil that’s always ready to blow. LIOTTA I enjoy what I do. Is that a crime? "Bee Movie" - JS REVISIONS 8/13/07 77. BARRY Not yet it isn’t. But is this what it’s come to for you, Mr. Liotta? Exploiting tiny helpless bees so you don’t have to rehearse your part, and learn your lines, Sir? LIOTTA Watch it Benson, I could blow right now. BARRY This isn’t a goodfella. This is a badfella! LIOTTA (exploding, trying to smash Barry with the Emmy) Why doesn’t someone just step on this little creep and we can all go home? You’re all thinking it. Say it! JUDGE Order! Order in this courtroom! A MONTAGE OF NEWSPAPER HEADLINES FOLLOWS: NEW YORK POST: “Bees to Humans: Buzz Off”. NEW YORK TELEGRAM: “Sue Bee”. DAILY VARIETY: “Studio Dumps Liotta Project. Slams Door on Unlawful Entry 2.” CUT TO: SEQ. 3175 - “CANDLELIGHT DINNER” INT. VANESSA’S APARTMENT Barry and Vanessa are having a candle light dinner. Visible behind Barry is a “LITTLE MISSY” SET BOX, with the flaps open. BARRY Well, I just think that was awfully nice of that bear to pitch in like that. "Bee Movie" - JS REVISIONS 8/13/07 78. VANESSA I’m telling you, I think the jury’s on our side. BARRY Are we doing everything right...you know, legally? VANESSA I’m a florist. BARRY Right, right. Barry raises his glass. BARRY (CONT’D) Well, here’s to a great team. VANESSA To a great team. They toast. Ken ENTERS KEN Well hello. VANESSA Oh...Ken. BARRY Hello. VANESSA I didn’t think you were coming. KEN No, I was just late. I tried to call. But, (holding his cell phone) the battery... VANESSA I didn’t want all this to go to waste, so I called Barry. Luckily he was free. BARRY Yeah. KEN (gritting his teeth) Oh, that was lucky. "Bee Movie" - JS REVISIONS 8/13/07 79. VANESSA Well, there’s still a little left. I could heat it up. KEN Yeah, heat it up. Sure, whatever. Vanessa EXITS. Ken and Barry look at each other as Barry eats. BARRY So, I hear you’re quite a tennis player. I’m not much for the game myself. I find the ball a little grabby. KEN That’s where I usually sit. Right there. VANESSA (O.C) Ken, Barry was looking at your resume, and he agreed with me that “eating with chopsticks” isn’t really a special skill. KEN (to Barry) You think

I don’t see what you’re doing? BARRY Hey look, I know how hard it is trying to find the right job. We certainly have that in common. KEN Do we? BARRY Well, bees have 100% employment, of course. But we do jobs like taking the crud out. KEN That’s just what I was thinking about doing. Ken holds his table knife up. It slips out of his hand. He goes under the table to pick it up. "Bee Movie" - JS REVISIONS 8/13/07 80. VANESSA Ken, I let Barry borrow your razor for his fuzz. I hope that was alright. Ken hits his head on the table. BARRY I’m going to go drain the old stinger. KEN Yeah, you do that. Barry EXITS to the bathroom, grabbing a small piece of a VARIETY MAGAZINE on the way. BARRY Oh, look at that. Ken slams the champagne down on the table. Ken closes his eyes and buries his face in his hands. He grabs a magazine on the way into the bathroom. SEQ. 2800 - “BARRY FIGHTS KEN” INT. BATHROOM - CONTINUOUS Ken ENTERS, closes the door behind him. He’s not happy. Barry is washing his hands. He glances back at Ken. KEN You know, I’ve just about had it with your little mind games. BARRY What’s that? KEN Italian Vogue. BARRY Mamma Mia, that’s a lot of pages. KEN It’s a lot of ads. BARRY Remember what Van said. Why is your life any more valuable than mine? "Bee Movie" - JS REVISIONS 8/13/07 81. KEN It’s funny, I just can’t seem to recall that! Ken WHACKS at Barry with the magazine. He misses and KNOCKS EVERYTHING OFF THE VANITY. Ken grabs a can of AIR FRESHENER. KEN (CONT'D) I think something stinks in here. He sprays at Barry. BARRY I love the smell of flowers. KEN Yeah? How do you like the smell of flames? Ken lights the stream. BARRY Not as much. Barry flies in a circle. Ken, trying to stay with him, spins in place. ANGLE ON: Flames outside the bathroom door. Ken slips on the Italian Vogue, falls backward into the shower, pulling down the shower curtain. The can hits him in the head, followed by the shower curtain rod, and the rubber duck. Ken reaches back, grabs the handheld shower head. He whips around, looking for Barry. ANGLE ON: A WATERBUG near the drain. WATERBUG Waterbug. Not taking sides. Barry is on the toilet tank. He comes out from behind a shampoo bottle, wearing a chapstick cap as a helmet. BARRY Ken, look at me! I’m wearing a chapstick hat. This is pathetic. ANGLE ON: Ken turning the hand shower nozzle from “GENTLE”, to “TURBO”, to “LETHAL”. "Bee Movie" - JS REVISIONS 8/13/07 82. KEN I’ve got issues! Ken fires the water at Barry, knocking him into the toilet. The items from the vanity (emory board, lipstick, eye curler, etc.) are on the toilet seat. Ken looks down at Barry. KEN (CONT'D) Well well well, a royal flush. BARRY You’re bluffing. KEN Am I? Ken flushes the toilet. Barry grabs the Emory board and uses it to surf. He puts his hand in the water while he’s surfing. Some water splashes on Ken. BARRY Surf’s up, dude! KEN Awww, poo water! He does some skate board-style half-pipe riding. Barry surfs out of the toilet. BARRY That bowl is gnarly. Ken tries to get a shot at him with the toilet brush. KEN Except for those dirty yellow rings. Vanessa ENTERS. VANESSA Kenneth! What are you doing? KEN You know what? I don’t even like honey! I don’t eat it! VANESSA We need to talk! "Bee Movie" - JS REVISIONS 8/13/07 83. She pulls Ken out by his ear. Ken glares at Barry. CUT TO: INT. HALLWAY - CONTINUOUS VANESSA He’s just a little bee. And he happens to be the nicest bee I’ve met in a long time. KEN Long time? What are you talking about? Are there other bugs in your life? VANESSA No, but there are other things bugging me in life. And you’re one of them! KEN Fine! Talking bees, no yogurt night...my nerves are fried from riding on this emotional rollercoaster. VANESSA Goodbye, Ken. KEN Augh! VANESSA Whew! Ken EXITS, then re-enters frame. KEN And for your information, I prefer sugar-free, artificial sweeteners, made by man! He EXITS again. The DOOR SLAMS behind him. VANESSA (to Barry) I’m sorry about all that. Ken RE-ENTERS. "Bee Movie" - JS REVISIONS 8/13/07 84. KEN I know it’s got an aftertaste! I like it! BARRY (re: Ken)

I always felt there was some kind of barrier between Ken and me. (puts his hands in his pockets) I couldn’t overcome it. Oh well. VANESSA Are you going to be okay for the trial tomorrow? BARRY Oh, I believe Mr. Montgomery is about out of ideas. CUT TO: SEQ. 3300 - “ADAM STINGS MONTY” INT. COURTROOM - NEXT DAY ANGLE ON: Medium shot of Montgomery standing at his table. MONTGOMERY We would like to call Mr. Barry Benson Bee to the stand. ADAM (whispering to Vanessa) Now that’s a good idea. (to Barry) You can really see why he’s considered one of the very best lawyers-- Oh. Barry rolls his eyes. He gets up, takes the stand. A juror in a striped shirt APPLAUDS. MR. GAMMIL (whispering) Layton, you’ve got to weave some magic with this jury, or it’s going to be all over. Montgomery is holding a BOOK, “The Secret Life of Bees”. "Bee Movie" - JS REVISIONS 8/13/07 85. MONTGOMERY (confidently whispering) Oh, don’t worry Mr. Gammil. The only thing I have to do to turn this jury around is to remind them of what they don’t like about bees. (to Gammil) You got the tweezers? Mr. Gammil NODS, and pats his breast pocket. MR. GAMMIL Are you allergic? MONTGOMERY Only to losing, son. Only to losing. Montgomery approaches the stand. MONTGOMERY (CONT’D) Mr. Benson Bee. I’ll ask you what I think we’d all like to know. What exactly is your relationship to that woman? Montgomery points to Vanessa. BARRY We’re friends. MONTGOMERY Good friends? BARRY Yes. MONTGOMERY (softly in Barry’s face) How good? BARRY What? MONTGOMERY Do you live together? BARRY Wait a minute, this isn’t about-- "Bee Movie" - JS REVISIONS 8/13/07 86. MONTGOMERY Are you her little... (clearing throat) ... bed bug? BARRY (flustered) Hey, that’s not the kind of-- MONTGOMERY I’ve seen a bee documentary or two. Now, from what I understand, doesn’t your Queen give birth to all the bee children in the hive? BARRY Yeah, but-- MONTGOMERY So those aren’t even your real parents! ANGLE ON: Barry’s parents. MARTIN BENSON Oh, Barry. BARRY Yes they are! ADAM Hold me back! Vanessa holds him back with a COFFEE STIRRER. Montgomery points to Barry’s parents. MONTGOMERY You’re an illegitimate bee, aren’t you Benson? ADAM He’s denouncing bees! All the bees in the courtroom start to HUM. They’re agitated. MONTGOMERY And don’t y’all date your cousins? "Bee Movie" - JS REVISIONS 8/13/07 87. VANESSA (standing, letting go of Adam) Objection! Adam explodes from the table and flies towards Montgomery. ADAM I’m going to pin cushion this guy! Montgomery turns around and positions himself by the judge’s bench. He sticks his butt out. Montgomery winks at his team. BARRY Adam, don’t! It’s what he wants! Adam shoves Barry out of the way. Adam STINGS Montgomery in the butt. The jury REACTS, aghast. MONTGOMERY Ow! I’m hit! Oh, lordy, I am hit! The judge BANGS her gavel. JUDGE Order! Order! Please, Mr. Montgomery. MONTGOMERY The venom! The venom is coursing through my veins! I have been felled by a wing-ed beast of destruction. You see? You can’t treat them like equals. They’re strip-ed savages! Stinging’s the only thing they know! It’s their way! ANGLE ON: Adam, collapsed on the floor. Barry rushes to his side. BARRY Adam, stay with me. ADAM I can’t feel my legs. Montgomery falls on the Bailiff. BAILIFF Take it easy. "Bee Movie" - JS REVISIONS 8/13/07 88. MONTGOMERY Oh, what angel of mercy will come forward to suck the poison from my heaving buttocks? The JURY recoils. JUDGE Please, I will have order in this court. Order! Order, please! FADE TO: SEQ. 3400 - “ADAM AT HOSPITAL” INT. HOSPITAL - STREET LEVEL ROOM - DAY PRESS PERSON #1 (V.O) The case of the honey bees versus the human race took a pointed turn against the bees yesterday, when one of their legal team stung Layton T. Montgomery. Now here’s Don with the 5-day. A NURSE lets Barry into the room. Barry CARRIES a FLOWER. BARRY Thank you. Barry stands over Adam, in a bed. Barry lays the flower down next to him. The TV is on. BARRY (CONT'D) Hey buddy. ADAM Hey. BARRY Is there much pain? Adam has a BEE-SIZED PAINKILLER HONEY BUTTON near his head that he

presses. ADAM (pressing the button) Yeah...I blew the whole case, didn’t I? "Bee Movie" - JS REVISIONS 8/13/07 89. BARRY Oh, it doesn’t matter. The important thing is you’re alive. You could have died. ADAM I’d be better off dead. Look at me. Adam THROWS the blanket off his lap, revealing a GREEN SANDWICH SWORD STINGER. ADAM (CONT’D) (voice cracking) They got it from the cafeteria, they got it from downstairs. In a tuna sandwich. Look, there’s a little celery still on it. BARRY What was it like to sting someone? ADAM I can’t explain it. It was all adrenaline...and then...ecstasy. Barry looks at Adam. BARRY Alright. ADAM You think that was all a trap? BARRY Of course. I’m sorry. I flew us right into this. What were we thinking? Look at us, we’re just a couple of bugs in this world. ADAM What do you think the humans will do to us if they win? BARRY I don’t know. ADAM I hear they put the roaches in motels. That doesn’t sound so bad. "Bee Movie" - JS REVISIONS 8/13/07 90. BARRY Adam, they check in, but they don’t check out. Adam GULPS. ADAM Oh my. ANGLE ON: the hospital window. We see THREE PEOPLE smoking outside on the sidewalk. The smoke drifts in. Adam COUGHS. ADAM (CONT’D) Say, could you get a nurse to close that window? BARRY Why? ADAM The smoke. Bees don’t smoke. BARRY Right. Bees don’t smoke. Bees don’t smoke! But some bees are smoking. Adam, that’s it! That’s our case. Adam starts putting his clothes on. ADAM It is? It’s not over? BARRY No. Get up. Get dressed. I’ve got to go somewhere. You get back the court and stall. Stall anyway you can. CUT TO: SEQ. 3500 - “SMOKING GUN” INT. COURTROOM - THE NEXT DAY Adam is folding a piece of paper into a boat. ADAM ...and assuming you’ve done step 29 correctly, you’re ready for the tub. "Bee Movie" - JS REVISIONS 8/13/07 91. ANGLE ON: The jury, all with paper boats of their own. JURORS Ooh. ANGLE ON: Montgomery frustrated with Gammil, who’s making a boat also. Monty crumples Gammil’s boat, and throws it at him. JUDGE Mr. Flayman? ADAM Yes? Yes, Your Honor? JUDGE Where is the rest of your team? ADAM (fumbling with his swordstinger) Well, your honor, it’s interesting. You know Bees are trained to fly kind of haphazardly and as a result quite often we don’t make very good time. I actually once heard a pretty funny story about a bee-- MONTGOMERY Your Honor, haven’t these ridiculous bugs taken up enough of this court’s valuable time? Montgomery rolls out from behind his table. He’s suspended in a LARGE BABY CHAIR with wheels. MONTGOMERY (CONT'D) How much longer are we going to allow these absurd shenanigans to go on? They have presented no compelling evidence to support their charges against my clients who have all run perfectly legitimate businesses. I move for a complete dismissal of this entire case. JUDGE Mr. Flayman, I am afraid I am going to have to consider Mr. Montgomery’s motion. "Bee Movie" - JS REVISIONS 8/13/07 92. ADAM But you can’t. We have a terrific case. MONTGOMERY Where is your proof? Where is the evidence? Show me the smoking gun. Barry bursts through the door. BARRY Hold it, your honor. You want a smoking gun? Here is your smoking gun. Vanessa ENTERS, holding a bee smoker Vanessa slams the beekeeper's SMOKER onto the judge’s bench. JUDGE What is that? BARRY It’s a Bee smoker. Montgomery GRABS the smoker. MONTGOMERY What, this? This harmless little contraption? This couldn’t hurt a fly, let alone a bee. He unintentionally points it towards the bee gallery, KNOCKING THEM ALL OUT. The jury GASPS. The press SNAPS pictures of them. BARRY Members of the jury, look at what has happened to bees who have never been asked, "Smoking or Non?" Is this what nature intended for us? To be forcibly addicted to these smoke machines in man-made wooden slat work camps? Living out our lives as honey slaves to the white man? Barry gestures dramatically towards Montgomery's racially mixed table. The BLACK LAWYER slowly moves his chair away. GAMMIL What are we going to do? "Bee Movie" - JS REVISIONS 8/13/07 93. MONTGOMERY (to Pross) He's playing the species card. Barry lands on the

scale of justice, by the judge’s bench. It balances as he lands. BARRY Ladies and gentlemen, please, FreeThese-Bees! ANGLE ON: Jury, chanting "Free the bees". JUDGE The court finds in favor of the bees. The chaos continues. Barry flies over to Vanessa, with his hand up for a “high 5”. BARRY Vanessa, we won! VANESSA Yay! I knew you could do it. Highfive! She high 5’s Barry, sending him crashing to the table. He bounces right back up. VANESSA (CONT'D) Oh, sorry. BARRY Ow!! I’m okay. Vanessa, do you know what this means? All the honey is finally going to belong to the bees. Now we won’t have to work so hard all the time. Montgomery approaches Barry, surrounded by the press. The cameras and microphones go to Montgomery. MONTGOMERY (waving a finger) This is an unholy perversion of the balance of nature, Benson! You’ll regret this. ANGLE ON: Barry’s ‘deer in headlights’ expression, as the press pushes microphones in his face. "Bee Movie" - JS REVISIONS 8/13/07 94. PRESS PERSON 1 Barry, how much honey do you think is out there? BARRY Alright, alright, one at a time... SARAH Barry, who are you wearing? BARRY Uhhh, my sweater is Ralph Lauren, and I have no pants. The Press follows Barry as he EXITS. ANGLE ON: Adam and Vanessa. ADAM (putting papers away) What if Montgomery’s right? VANESSA What do you mean? ADAM We’ve been living the bee way a long time. 27 million years. DISSOLVE TO: SEQ. 3600 - “HONEY ROUNDUP” EXT. HONEY FARMS APIARY - MONTAGE SARAH (V.O) Congratulations on your victory. What are you going to demand as a settlement? BARRY (V.O) (over montage) First, we’re going to demand a complete shutdown of all bee work camps. Then, we want to get back all the honey that was ours to begin with. Every last drop. We demand an end to the glorification of the bear as anything more than a filthy, smelly, big-headed, bad breath, stink-machine. "Bee Movie" - JS REVISIONS 8/13/07 95. I believe we’re all aware of what they do in the woods. We will no longer tolerate derogatory beenegative nick-names, unnecessary inclusion of honey in bogus health products, and la-dee-da tea-time human snack garnishments. MONTAGE IMAGES: Close-up on an ATF JACKET, with the YELLOW LETTERS. Camera pulls back. We see an ARMY OF BEE AND HUMAN AGENTS wearing hastily made “Alcohol, Tobacco, Firearms, and Honey” jackets. Barry supervises. The gate to Honey Farms is locked permanently. All the smokers are collected and locked up. All the bees leave the Apiary. CUT TO: EXT. ATF OUTSIDE OF SUPERMARKET - MONTAGE Agents begin YANKING honey off the supermarket shelves, and out of shopping baskets. CUT TO: EXT. NEW HIVE CITY - MONTAGE The bees tear down a honey-bear statue. CUT TO: EXT. YELLOWSTONE FOREST - MONTAGE POV of a sniper’s crosshairs. An animated BEAR character looka-like, turns his head towards camera. BARRY Wait for my signal. ANGLE ON: Barry lowering his binoculars. BARRY (CONT'D) Take him out. The sniper SHOOTS the bear. It hits him in the shoulder. The bear looks at it. He gets woozy and the honey jar falls out of his lap, an ATF&H agent catches it. "Bee Movie" - JS REVISIONS 8/13/07 96. BARRY (V.O) (CONT'D) ATF&H AGENT (to the bear’s pig friend) He’ll have a little nausea for a few hours, then he’ll be fine. CUT TO: EXT. STING’S HOUSE - MONTAGE ATF&H agents SLAP CUFFS on Sting, who is meditating. STING But it’s just a prance-about stage name! CUT TO: INT. A WOMAN’S SHOWER - MONTAGE A WOMAN is taking a shower, and using honey shampoo. An ATF&H agent pulls the shower curtain aside, and grabs her bottle of shampoo. The woman SCREAMS. The agent turns to the 3 other agents, and Barry. ANGLE ON: Barry looking at the label on the shampoo bottle, shaking his head and writing in his clipboard. CUT TO: EXT. SUPERMARKET CAFE - MONTAGE Another customer, an old lady having her tea with a little jar of honey, gets her face pushed down onto the table and turned to the side by two agents. One of the agents has a gun on her. OLD LADY Can’t breathe. CUT TO: EXT. CENTRAL PARK - MONTAGE An OIL DRUM of honey is connected to Barry’s hive. "Bee Movie" - JS REVISIONS

8/13/07 97. BARRY Bring it in, boys. CUT TO: SEQ. 3650 - “NO MORE WORK” INT. HONEX - MONTAGE ANGLE ON: The honey goes past the 3-cup hash-mark, and begins to overflow. A WORKER BEE runs up to Buzzwell. WORKER BEE 1 Mr. Buzzwell, we just passed 3 cups, and there’s gallons mores coming. I think we need to shutdown. KEYCHAIN BEE (to Buzzwell) Shutdown? We’ve never shutdown. ANGLE ON: Buzzwell overlooking the factory floor. BUZZWELL Shutdown honey production! Stop making honey! ANGLE ON: TWO BEES, each with a KEY. BUZZWELL (CONT’D) Turn your key, Sir! They turn the keys simultaneously, War Games-style, shutting down the honey machines. ANGLE ON: the Taffy-Pull machine, Centrifuge, and Krelman all slowly come to a stop. The bees look around, bewildered. WORKER BEE 5 What do we do now? A BEAT. WORKER BEE 6 Cannon ball!! He jumps into a HONEY VAT, doesn’t penetrate the surface. He looks around, and slowly sinks down to his waist. "Bee Movie" - JS REVISIONS 8/13/07 98. EXT. HONEX FACTORY THE WHISTLE BLOWS, and the bees all stream out the exit. CUT TO: INT. J-GATE - CONTINUOUS Lou Loduca gives orders to the pollen jocks. LOU LODUCA We’re shutting down honey production. Mission abort. CUT TO: EXT. CENTRAL PARK Jackson receives the orders, mid-pollination. JACKSON Aborting pollination and nectar detail. Returning to base. CUT TO: EXT. NEW HIVE CITY ANGLE ON: Bees, putting sun-tan lotion on their noses and antennae, and sunning themselves on the balconies of the gyms. CUT TO: EXT. CENTRAL PARK ANGLE ON: THE FLOWERS starting to DROOP. CUT TO: INT. J-GATE J-Gate is deserted. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 99. EXT. NEW HIVE CITY ANGLE ON: Bees sunning themselves. A TIMER DINGS, and they all turn over. CUT TO: EXT. CENTRAL PARK TIME LAPSE of Central Park turning brown. CUT TO: EXT. VANESSA’S FLORIST SHOP CLOSE-UP SHOT: Vanessa writes “Sorry. No more flowers.” on a “Closed” sign, an turns it facing out. CUT TO: SEQ. 3700 - “IDLE HIVE” EXT. NEW HIVE CITY - DAY Barry flies at high speed. TRACKING SHOT into the hive, through the lobby of Honex, and into Adam’s office. CUT TO: INT. ADAM’S OFFICE - CONTINUOUS Barry meets Adam in his office. Adam’s office is in disarray. There are papers everywhere. He’s filling up his cardboard hexagon box. BARRY (out of breath) Adam, you wouldn’t believe how much honey was out there. ADAM Oh yeah? BARRY What’s going on around here? Where is everybody? Are they out celebrating? "Bee Movie" - JS REVISIONS 8/13/07 100. ADAM (exiting with a cardboard box of belongings) No, they’re just home. They don’t know what to do. BARRY Hmmm. ADAM They’re laying out, they’re sleeping in. I heard your Uncle Carl was on his way to San Antonio with a cricket. BARRY At least we got our honey back. They walk through the empty factory. ADAM Yeah, but sometimes I think, so what if the humans liked our honey? Who wouldn’t? It’s the greatest thing in the world. I was excited to be a part of making it. ANGLE ON: Adam’s desk on it’s side in the hall. ADAM (CONT’D) This was my new desk. This was my new job. I wanted to do it really well. And now...and now I can’t. Adam EXITS. CUT TO: SEQ. 3900 - “WORLD WITHOUT BEES” INT. STAIRWELL Vanessa and Barry are walking up the stairs to the roof. BARRY I don’t understand why they’re not happy. We have so much now. I thought their lives would be better. "Bee Movie" - JS REVISIONS 8/13/07 101. VANESSA Hmmm. BARRY They’re doing nothing. It’s amazing, honey really changes people. VANESSA You don’t have any idea what’s going on, do you? BARRY What did you want to show me? VANESSA This. They reach the top of the stairs. Vanessa opens the door. CUT TO: EXT. VANESSA’S ROOFTOP - CONTINUOUS Barry sees Vanessa’s flower pots and small garden have all turned brown. BARRY What happened here? VANESSA That is not the half of it... Vanessa turns Barry around with her two fingers, revealing the view of Central Park, which is also all brown. BARRY Oh no. Oh my. They’re all wilting. VANESSA Doesn’t look very good, does it? BARRY No. VANESSA And who’s fault do you think that is? "Bee Movie" - JS

REVISIONS 8/13/07 102. BARRY Mmmm...you know, I’m going to guess, bees. VANESSA Bees? BARRY Specifically me. I guess I didn’t think that bees not needing to make honey would affect all these other things. VANESSA And it’s not just flowers. Fruits, vegetables...they all need bees. BARRY Well, that’s our whole SAT test right there. VANESSA So, you take away the produce, that affects the entire animal kingdom. And then, of course... BARRY The human species? VANESSA (clearing throat) Ahem! BARRY Oh. So, if there’s no more pollination, it could all just go south here, couldn’t it? VANESSA And I know this is also partly my fault. Barry takes a long SIGH. BARRY How about a suicide pact? VANESSA (not sure if he’s joking) How would we do it? BARRY I’ll sting you, you step on me. "Bee Movie" - JS REVISIONS 8/13/07 103. VANESSA That just kills you twice. BARRY Right, right. VANESSA Listen Barry. Sorry but I’ve got to get going. She EXITS. BARRY (looking out over the park) Had to open my mouth and talk... (looking back) Vanessa..? Vanessa is gone. CUT TO: SEQ. 3935 - “GOING TO PASADENA” EXT. NY STREET - CONTINUOUS Vanessa gets into a cab. Barry ENTERS. BARRY Vanessa. Why are you leaving? Where are you going? VANESSA To the final Tournament of Roses parade in Pasadena. They moved it up to this weekend because all the flowers are dying. It’s the last chance I’ll ever have to see it. BARRY Vanessa, I just want to say I’m sorry. I never meant it to turn out like this. VANESSA I know. Me neither. Vanessa cab drives away. "Bee Movie" - JS REVISIONS 8/13/07 104. BARRY (chuckling to himself) Tournament of Roses. Roses can’t do sports. Wait a minute...roses. Roses? Roses!? Vanessa! Barry follows shortly after. He catches up to it, and he pounds on the window. Barry follows shortly after Vanessa’s cab. He catches up to it, and he pounds on the window. INT. TAXI - CONTINUOUS Barry motions for her to roll the window down. She does so. BARRY Roses?! VANESSA Barry? BARRY (as he flies next to the cab) Roses are flowers. VANESSA Yes, they are. BARRY Flowers, bees, pollen! VANESSA I know. That’s why this is the last parade. BARRY Maybe not. The cab starts pulling ahead of Barry. BARRY (CONT'D) (re: driver) Could you ask him to slow down? VANESSA Could you slow down? The cabs slows. Barry flies in the window, and lands in the change box, which closes on him. "Bee Movie" - JS REVISIONS 8/13/07 105. VANESSA (CONT'D) Barry! Vanessa lets him out. Barry stands on the change box, in front of the driver’s license. BARRY Okay, I made a huge mistake! This is a total disaster, and it’s all my fault! VANESSA Yes, it kind of is. BARRY I’ve ruined the planet. And, I wanted to help with your flower shop. Instead, I’ve made it worse. VANESSA Actually, it’s completely closed down. BARRY Oh, I thought maybe you were remodeling. Nonetheless, I have another idea. And it’s greater than all my previous great ideas combined. VANESSA I don’t want to hear it. Vanessa closes the change box on Barry. BARRY (opening it again) Alright, here’s what I’m thinking. They have the roses, the roses have the pollen. I know every bee, plant, and flower bud in this park. All we’ve got to do is get what they’ve got back here with what we’ve got. VANESSA Bees... BARRY Park... VANESSA Pollen... "Bee Movie" - JS REVISIONS 8/13/07 106. BARRY Flowers... VANESSA Repollination! BARRY (on luggage handle, going up) Across the nation! CUT TO: SEQ. 3950 - “ROSE PARADE” EXT. PASADENA PARADE BARRY (V.O) Alright. Tournament of Roses. Pasadena, California. They’ve got nothing but flowers, floats, and cotton candy. Security will be tight. VANESSA I have an idea. CUT TO: EXT. FLOAT STAGING AREA ANGLE ON: Barry and Vanessa approaching a HEAVILY ARMED GUARD in front of the staging area. VANESSA Vanessa Bloome, FTD. Official floral business. He leans in to look at her badge. She SNAPS IT SHUT, VANESSA (CONT’D) Oh, it’s real. HEAVILY ARMED GUARD Sorry ma’am. That’s a nice brooch, by the way. VANESSA Thank you. It was a gift. "Bee Movie" - JS REVISIONS 8/13/07 107. They ENTER the staging area. BARRY (V.O)

Then, once we’re inside, we just pick the right float. VANESSA How about the Princess and the Pea? BARRY Yeah. VANESSA I can be the princess, and-- BARRY ...yes, I think-- VANESSA You could be-- BARRY I’ve-- VANESSA The pea. BARRY Got it. CUT TO: EXT. FLOAT STAGING AREA - A FEW MOMENTS LATER Barry, dressed as a PEA, flies up and hovers in front of the princess on the “Princess and the Pea” float. The float is sponsored by Inflat-a-bed and a SIGN READS: “Inflat-a-bed: If it blows, it’s ours.” BARRY Sorry I’m late. Where should I sit? PRINCESS What are you? BARRY I believe I’m the pea. PRINCESS The pea? It’s supposed to be under the mattresses. "Bee Movie" - JS REVISIONS 8/13/07 108. BARRY Not in this fairy tale, sweetheart. PRINCESS I’m going to go talk to the marshall. BARRY You do that. This whole parade is a fiasco! She EXITS. Vanessa removes the step-ladder. The princess FALLS. Barry and Vanessa take off in the float. BARRY (CONT’D) Let’s see what this baby will do. ANGLE ON: Guy with headset talking to drivers. HEADSET GUY Hey! The float ZOOMS by. A young CHILD in the stands, TIMMY, cries. CUT TO: EXT. FLOAT STAGING AREA - A FEW MOMENTS LATER ANGLE ON: Vanessa putting the princess hat on. BARRY (V.O) Then all we do is blend in with traffic, without arousing suspicion. CUT TO: EXT. THE PARADE ROUTE - CONTINUOUS The floats go flying by the crowds. Barry and Vanessa’s float CRASHES through the fence. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 109. EXT. LA FREEWAY Vanessa and Barry speed, dodging and weaving, down the freeway. BARRY (V.O) And once we’re at the airport, there’s no stopping us. CUT TO: EXT. LAX AIRPORT Barry and Vanessa pull up to the curb, in front of an TSA AGENT WITH CLIPBOARD. TSA AGENT Stop. Security. Did you and your insect pack your own float? VANESSA (O.C) Yes. TSA AGENT Has this float been in your possession the entire time? VANESSA (O.C) Since the parade...yes. ANGLE ON: Barry holding his shoes. TSA AGENT Would you remove your shoes and everything in your pockets? Can you remove your stinger, Sir? BARRY That’s part of me. TSA AGENT I know. Just having some fun. Enjoy your flight. CUT TO: EXT. RUNWAY Barry and Vanessa’s airplane TAKES OFF. "Bee Movie" - JS REVISIONS 8/13/07 110. BARRY (O.C) Then, if we’re lucky, we’ll have just enough pollen to do the job. DISSOLVE TO: SEQ. 4025 - “COCKPIT FIGHT” INT. AIRPLANE Vanessa is on the aisle. Barry is on a laptop calculating flowers, pollen, number of bees, airspeed, etc. He does a “Stomp” dance on the keyboard. BARRY Can you believe how lucky we are? We have just enough pollen to do the job. I think this is going to work, Vanessa. VANESSA It’s got to work. PILOT (V.O) Attention passengers. This is Captain Scott. I’m afraid we have a bit of bad weather in the New York area. And looks like we’re going to be experiencing a couple of hours delay. VANESSA Barry, these are cut flowers with no water. They’ll never make it. BARRY I’ve got to get up there and talk to these guys. VANESSA Be careful. Barry flies up to the cockpit door. CUT TO: INT. COCKPIT - CONTINUOUS A female flight attendant, ANGELA, is in the cockpit with the pilots. "Bee Movie" - JS REVISIONS 8/13/07 111. There’s a KNOCK at the door. BARRY (C.O) Hey, can I get some help with this Sky Mall Magazine? I’d like to order the talking inflatable travel pool filter. ANGELA (to the pilots, irritated) Excuse me. CUT TO: EXT. CABIN - CONTINUOUS Angela opens the cockpit door and looks around. She doesn’t see anybody. ANGLE ON: Barry hidden on the yellow and black “caution” stripe. As Angela looks around, Barry zips into the cockpit. CUT TO: INT. COCKPIT BARRY Excuse me, Captain. I am in a real situation here... PILOT (pulling an earphone back, to the co-pilot) What did you say, Hal? CO-PILOT I didn’t say anything. PILOT (he sees Barry) Ahhh! Bee! BARRY No, no! Don’t freak out! There’s a chance my entire species-- CO-PILOT (taking off his earphones) Ahhh! "Bee Movie" - JS REVISIONS 8/13/07 112. The pilot grabs a “DUSTBUSTER” vacuum cleaner. He aims it around trying to vacuum up Barry. The co-pilot faces

camera, as the pilot tries to suck Barry up. Barry is on the other side of the co-pilot. As they dosey-do, the toupee of the co-pilot begins to come up, still attached to the front. CO-PILOT (CONT'D) What are you doing? Stop! The toupee comes off the co-pilot’s head, and sticks in the Dustbuster. Barry runs across the bald head. BARRY Wait a minute! I’m an attorney! CO-PILOT Who’s an attorney? PILOT Don’t move. The pilot uses the Dustbuster to try and mash Barry, who is hovering in front of the co-pilot’s nose, and knocks out the co-pilot who falls out of his chair, hitting the life raft release button. The life raft inflates, hitting the pilot, knocking him into a wall and out cold. Barry surveys the situation. BARRY Oh, Barry. CUT TO: INT. AIRPLANE CABIN Vanessa studies her laptop, looking serious. SFX: PA CRACKLE. BARRY (V.O) (in captain voice) Good afternoon passengers, this is your captain speaking. Would a Miss Vanessa Bloome in 24F please report to the cockpit. And please hurry! "Bee Movie" - JS REVISIONS 8/13/07 113. ANGLE ON: The aisle, and Vanessa head popping up. CUT TO: INT. COCKPIT Vanessa ENTERS. VANESSA What happened here? BARRY I tried to talk to them, but then there was a Dustbuster, a toupee, a life raft exploded...Now one’s bald, one’s in a boat, and they’re both unconscious. VANESSA Is that another bee joke? BARRY No. No one’s flying the plane. The AIR TRAFFIC CONTROLLER, BUD, speaks over the radio. BUD This is JFK control tower. Flight 356, what’s your status? Vanessa presses a button, and the intercom comes on. VANESSA This is Vanessa Bloome. I’m a florist from New York. BUD Where’s the pilot? VANESSA He’s unconscious and so is the copilot. BUD Not good. Is there anyone onboard who has flight experience? A BEAT. BARRY As a matter of fact, there is. "Bee Movie" - JS REVISIONS 8/13/07 114. BUD Who’s that? VANESSA Barry Benson. BUD From the honey trial? Oh great. BARRY Vanessa, this is nothing more than a big metal bee. It’s got giant wings, huge engines. VANESSA I can’t fly a plane. BARRY Why not? Isn’t John Travolta a pilot? VANESSA Yes? BARRY How hard could it be? VANESSA Wait a minute. Barry, we’re headed into some lightning. CUT TO: Vanessa shrugs, and takes the controls. SEQ. 4150 - “BARRY FLIES PLANE” INT. BENSON HOUSE The family is all huddled around the TV at the Benson house. ANGLE ON: TV. Bob Bumble is broadcasting. BOB BUMBLE This is Bob Bumble. We have some late-breaking news from JFK airport, where a very suspenseful scene is developing. Barry Benson, fresh off his stunning legal victory... "Bee Movie" - JS REVISIONS 8/13/07 115. Adam SPRAYS a can of HONEY-WHIP into his mouth. ADAM That’s Barry. BOB BUMBLE ...is now attempting to land a plane, loaded with people, flowers, and an incapacitated flight crew. EVERYONE Flowers?! CUT TO: INT. AIR TRAFFIC CONTROL TOWER BUD Well, we have an electrical storm in the area, and two individuals at the controls of a jumbo jet with absolutely no flight experience. JEANETTE CHUNG Just a minute, Mr. Ditchwater, there’s a honey bee on that plane. BUD Oh, I’m quite familiar with Mr. Benson’s work, and his no-account compadres. Haven’t they done enough damage already? JEANETTE CHUNG But isn’t he your only hope right now? BUD Come on, technically a bee shouldn’t be able to fly at all. CUT TO: INT. COCKPIT. Barry REACTS BUD The wings are too small, their bodies are too big-- "Bee Movie" - JS REVISIONS 8/13/07 116. BARRY (over PA) Hey, hold on a second. Haven’t we heard this million times? The surface area of the wings, and the body mass doesn’t make sense? JEANETTE CHUNG Get this on the air. CAMERAMAN You got it! CUT TO: INT. BEE TV CONTROL ROOM An engineer throws a switch. BEE ENGINEER Stand by. We’re going live. The “ON AIR” sign illuminates. CUT TO: INT. VARIOUS SHOTS OF NEW HIVE CITY The news report plays on TV. The pollen jocks are sitting around, playing paddle-ball, Wheel-o, and one of them is spinning his helmet on his finger. Buzzwell is in an office cubicle, playing computer solitaire. Barry’s family and Adam watch from their living room. Bees

sitting on the street curb turn around to watch the TV. BARRY Mr. Ditchwater, the way we work may be a mystery to you, because making honey takes a lot of bees doing a lot of small jobs. But let me tell you something about a small job. If you do it really well, it makes a big difference. More than we realized. To us, to everyone. That’s why I want to get bees back to doing what we do best. "Bee Movie" - JS REVISIONS 8/13/07 117. Working together. That’s the bee way. We’re not made of Jello. We get behind a fellow. Black and yellow. CROWD OF BEES Hello! CUT TO: INT. COCKPIT Barry is giving orders to Vanessa. BARRY Left, right, down, hover. VANESSA Hover? BARRY Forget hover. VANESSA You know what? This isn’t so hard. Vanessa pretends to HONK THE HORN. VANESSA (CONT’D) Beep, beep! Beep, beep! A BOLT OF LIGHTNING HITS the plane. The plane takes a sharp dip. VANESSA (CONT’D) Barry, what happened? BARRY (noticing the control panel) Wait a minute. I think we were on autopilot that whole time. VANESSA That may have been helping me. BARRY And now we’re not! VANESSA (V.O.) (folding her arms) Well, then it turns out I cannot fly a plane. "Bee Movie" - JS REVISIONS 8/13/07 118. BARRY (CONT'D) Vanessa struggles with the yoke. CUT TO: EXT. AIRPLANE The airplane goes into a steep dive. CUT TO: SEQ. 4175 - “CRASH LANDING” INT. J-GATE An ALERT SIGN READING: “Hive Alert. We Need:” Then the SIGNAL goes from “Two Bees” “Some Bees” “Every Bee There Is” Lou Loduca gathers the pollen jocks at J-Gate. LOU LODUCA All of you, let’s get behind this fellow. Move it out! The bees follow Lou Loduca, and EXIT J-Gate. CUT TO: INT. AIRPLANE COCKPIT BARRY Our only chance is if I do what I would do, and you copy me with the wings of the plane! VANESSA You don’t have to yell. BARRY I’m not yelling. We happen to be in a lot of trouble here. VANESSA It’s very hard to concentrate with that panicky tone in your voice. BARRY It’s not a tone. I’m panicking! CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 119. EXT. JFK AIRPORT ANGLE ON: The bees arriving and massing at the airport. CUT TO: INT. COCKPIT Barry and Vanessa alternately SLAP EACH OTHER IN THE FACE. VANESSA I don’t think I can do this. BARRY Vanessa, pull yourself together. Listen to me, you have got to snap out of it! VANESSA You snap out of it! BARRY You snap out of it! VANESSA You snap out of it! BARRY You snap out of it! VANESSA You snap out of it! CUT TO: EXT. AIRPLANE A GIGANTIC SWARM OF BEES flies in to hold the plane up. CUT TO: INT. COCKPIT - CONTINUOUS BARRY You snap out of it! VANESSA You snap out of it! "Bee Movie" - JS REVISIONS 8/13/07 120. BARRY You snap-- VANESSA Hold it! BARRY (about to slap her again) Why? Come on, it’s my turn. VANESSA How is the plane flying? Barry’s antennae ring. BARRY I don’t know. (answering) Hello? CUT TO: EXT. AIRPLANE ANGLE ON: The underside of the plane. The pollen jocks have massed all around the underbelly of the plane, and are holding it up. LOU LODUCA Hey Benson, have you got any flowers for a happy occasion in there? CUT TO: INT. COCKPIT Lou, Buzz, Splitz, and Jackson come up alongside the cockpit. BARRY The pollen jocks! VANESSA They do get behind a fellow. BARRY Black and yellow. LOU LODUCA (over headset) Hello. "Bee Movie" - JS REVISIONS 8/13/07 121. Alright you two, what do you say we drop this tin can on the blacktop? VANESSA What blacktop? Where? I can’t see anything. Can you? BARRY No, nothing. It’s all cloudy. CUT TO: EXT. RUNWAY Adam SHOUTS. ADAM Come on, you’ve got to think bee, Barry. Thinking bee, thinking bee. ANGLE ON: Overhead shot of runway. The bees are in the formation of a flower. In unison they move, causing the flower to FLASH YELLOW AND BLACK. BEES (chanting) Thinking bee, thinking bee. CUT TO: INT. COCKPIT We see through the swirling mist and clouds. A GIANT SHAPE OF A FLOWER is forming in the middle of the runway. BARRY Wait a minute. I think I’m feeling something. VANESSA What? BARRY I don’t know, but it’s strong. And it’s pulling me, like a 27 million year old instinct. Bring the nose of the plane down. "Bee Movie" - JS REVISIONS

8/13/07 122. LOU LODUCA (CONT'D) EXT. RUNWAY All the bees are on the runway chanting “Thinking Bee”. CUT TO: INT. CONTROL TOWER RICK What in the world is on the tarmac? ANGLE ON: Dave OTS onto runway seeing a flower being formed by millions of bees. BUD Get some lights on that! CUT TO: EXT. RUNWAY ANGLE ON: AIRCRAFT LANDING LIGHT SCAFFOLD by the side of the runway, illuminating the bees in their flower formation. INT. COCKPIT BARRY Vanessa, aim for the flower! VANESSA Oh, okay? BARRY Cut the engines! VANESSA Cut the engines? BARRY We’re going in on bee power. Ready boys? LOU LODUCA Affirmative. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 123. INT. AIRPLANE COCKPIT BARRY Good, good, easy now. Land on that flower! Ready boys? Give me full reverse. LOU LODUCA Spin it around! The plane attempts to land on top of an “Aloha Airlines” plane with flowers painted on it. BARRY (V.O) I mean the giant black and yellow pulsating flower made of millions of bees! VANESSA Which flower? BARRY That flower! VANESSA I’m aiming at the flower! The plane goes after a FAT GUY IN A HAWAIIAN SHIRT. BARRY (V.O) That’s a fat guy in a flowered shirt! The other other flower! The big one. He snaps a photo and runs away. BARRY (CONT'D) Full forward. Ready boys? Nose down. Bring your tail up. Rotate around it. VANESSA Oh, this is insane, Barry. BARRY This is the only way I know how to fly. CUT TO: "Bee Movie" - JS REVISIONS 8/13/07 124. AIR TRAFFIC CONTROL TOWER BUD Am I koo-koo kachoo, or is this plane flying in an insect-like pattern? CUT TO: EXT. RUNWAY BARRY (V.O) Get your nose in there. Don’t be afraid of it. Smell it. Full reverse! Easy, just drop it. Be a part of it. Aim for the center! Now drop it in. Drop it in, woman! The plane HOVERS and MANEUVERS, landing in the center of the giant flower, like a bee. The FLOWERS from the cargo hold spill out onto the runway. INT. AIPLANE CABIN The passengers are motionless for a beat. PASSENGER Come on already! They hear the “ding ding”, and all jump up to grab their luggage out of the overheads. SEQ. 4225 - “RUNWAY SPEECH” EXT. RUNWAY - CONTINUOUS The INFLATABLE SLIDES pop out the side of the plane. The passengers escape. Barry and Vanessa slide down out of the cockpit. Barry and Vanessa exhale a huge breath. VANESSA Barry, we did it. You taught me how to fly. Vanessa raises her hand up for a high five. "Bee Movie" - JS REVISIONS 8/13/07 125. BARRY Yes. No high five. VANESSA Right. ADAM Barry, it worked. Did you see the giant flower? BARRY What giant flower? Where? Of course I saw the flower! That was genius, man. Genius! ADAM Thank you. BARRY But we’re not done yet. Barry flies up to the wing of the plane, and addresses the bee crowd. BARRY (CONT’D) Listen everyone. This runway is covered with the last pollen from the last flowers available anywhere on Earth. That means this is our last chance. We’re the only ones who make honey, pollinate flowers, and dress like this. If we’re going to survive as a species, this is our moment. So what do you all say? Are we going to be bees, or just Museum of Natural History key chains? BEES We’re bees! KEYCHAIN BEE Keychain! BARRY Then follow me... Except Keychain. BUZZ Hold on Barry. You’ve earned this. Buzz puts a pollen jock jacket and helmet with Barry’s name on it on Barry. "Bee Movie" - JS REVISIONS 8/13/07 126. BARRY I’m a pollen jock! (looking at the jacket. The sleeves are a little long) And it’s a perfect fit. All I’ve got to do are the sleeves. The Pollen Jocks toss Barry a gun. BARRY (CONT’D) Oh yeah! ANGLE ON: Martin and Janet Benson. JANET BENSON That’s our Barry. All the bees descend upon the flowers on the tarmac, and start collecting pollen. CUT TO: SEQ. 4250 - “RE-POLLINATION” EXT. SKIES - CONTINUOUS The squadron FLIES over the city, REPOLLINATING trees and flowers as they go. Barry breaks off from the group, towards Vanessa’s flower shop. CUT TO: EXT. VANESSA’S FLOWER SHOP - CONTINUOUS Barry REPOLLINATES Vanessa’s flowers. CUT TO: EXT. CENTRAL PARK - CONTINUOUS ANGLE ON: Timmy with a frisbee, as the bees fly by. TIMMY Mom, the bees are back! "Bee

Movie" - JS REVISIONS 8/13/07 127. Central Park is completely repollinated by the bees. DISSOLVE TO: INT. HONEX - CONTINUOUS Honex is back to normal and everyone is busily working. ANGLE ON: Adam, putting his Krelman hat on. ADAM If anyone needs to make a call, now’s the time. I’ve got a feeling we’ll be working late tonight! The bees CHEER. CUT TO: SEQ. 4355 EXT: VANESSA’S FLOWER SHOP With a new sign out front. “Vanessa & Barry: Flowers, Honey, Legal Advice” DISSOLVE TO: INT: FLOWER COUNTER Vanessa doing a brisk trade with many customers. CUT TO: INT: FLOWER SHOP - CONTINUOUS Vanessa is selling flowers. In the background, there are SHELVES STOCKED WITH HONEY. VANESSA (O.C.) Don’t forget these. Have a great afternoon. Yes, can I help who’s next? Who’s next? Would you like some honey with that? It is beeapproved. SIGN ON THE BACK ROOM DOOR READS: “Barry Benson: Insects at Law”. "Bee Movie" - JS REVISIONS 8/13/07 128. Camera moves into the back room. ANGLE ON: Barry. ANGLE ON: Barry’s COW CLIENT. COW Milk, cream, cheese...it’s all me. And I don’t see a nickel. BARRY Uh huh? Uh huh? COW (breaking down) Sometimes I just feel like a piece of meat. BARRY I had no idea. VANESSA Barry? I’m sorry, have you got a moment? BARRY Would you excuse me? My mosquito associate here will be able to help you. Mooseblood ENTERS. MOOSEBLOOD Sorry I’m late. COW He’s a lawyer too? MOOSEBLOOD Ma’am, I was already a bloodsucking parasite. All I needed was * a briefcase. * ANGLE ON: Flower Counter. VANESSA (to customer) Have a great afternoon! (to Barry) Barry, I just got this huge tulip order for a wedding, and I can’t get them anywhere. "Bee Movie" - JS REVISIONS 8/13/07 129. BARRY Not a problem, Vannie. Just leave it to me. Vanessa turns back to deal with a customer. VANESSA You’re a life-saver, Barry. (to the next customer) Can I help who’s next? Who’s next? ANGLE ON: Vanessa smiling back at Barry. Barry smiles too, then snaps himself out of it. BARRY (speaks into his antennae) Alright. Scramble jocks, it’s time to fly! VANESSA Thank you, Barry! EXT. FLOWER SHOP - CONTINUOUS ANGLE ON: Ken and Andy walking down the street. KEN (noticing the new sign) Augh! What in the world? It’s that bee again! ANDY (guiding Ken protectively) Let it go, Kenny. KEN That bee is living my life! When will this nightmare end? ANDY Let it all go. They don’t break stride. ANGLE ON: Camera in front of Barry as he flies out the door and up into the sky. Pollen jocks fold in formation behind him as they zoom into the park. BARRY (to Splitz) Beautiful day to fly. "Bee Movie" - JS REVISIONS 8/13/07 130. JACKSON Sure is. BARRY Between you and me, I was dying to get out of that office. FADE OUT

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