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deadgirl-requiem · 4 years ago

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On Boundary - Pt. 1

💧// angst ⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒⭑⭒

I ran, as fast as I could. The wind whipped past my face, my lungs burned, and my legs felt unstable. I needed to get away from, away from that house. I knew they were behind me, they had to be.

... It was sunlight, the sun was glaring down, the breeze was light, the grass crunched under the wind... no, that's not right. I rolled over, my hands bracing under my chest, and my toes and knees ready to go. When I looked in the direction of the crunching grass I saw a long-haired man. His hands raised slightly from his side. We made eye contact for a second before I bolted.

My eyes caught the blur of 2 other people to my right and my left. As I ducked a low branch and entered a clearing I was shoved to the ground and flipped over. Without even thinking I started screaming, trying to get whoever was on top of me off.

"Calm down, calm down please, we're just trying to help."

Almost on pure instinct I bucked my hips up and kicked my legs out, around the person above me, and brought them down next to me. As the 2 other people caught up to us I just slid back under the shade of a nearby tree.

"Please miss, what's- can you tell us your name?" It was a taller white man; he seemed older than the other 2.

"Did she have to slam me down that hard?" The one that tackled me down was a thin lady, blonde hair.

The man with long hair had approached me and looked at my face, my appearance. I probably looked like death. Running through... wherever here is, without shoes on.

"Here take this, please, you must feel cold." The long-haired man stepped closer, his jacket in his hands.

Right, I forgot to dress appropriately. I reached forward, my hand, well all of me shaking as I grabbed his jacket and slipped it on.

"Th...Thank y...you."

They looked like an odd group; the long-haired man was dressed a bit differently from the other two. Not to mention his face, he seemed almost familiar.

"I'm Sheriff Walt Longmire, this is Mathias he's police chief of the tribal police over on the res, and this is Vic, my deputy." My eyes fluttered around, as the older man spoke, to each person he gestured to, the blonde and the long-haired man.

"Why don't we get you somewhere a little less exposing? What do you say?" Mathias spoke up.

I nodded softly, stood on the balls of my feet, and limped forward, "I guess running barefoot out here isn't a good idea."

"No vine aqui por eleccion. Puedo obtener un poco de ayudu por favor?"

I didn't come out here by choice. Can I get a bit of help, please?

Mathias, Vic, and the sheriff stopped as they heard my hoarse voice, "What- What was that?"

"Are we gonna need a translator?" Vic looked at the sheriff as he walked back towards me.

"Look we'll take her to your station and get her comfortable see if she can tell us anything. But until she says for sure she didn't come from the res, I'm coming with you." Mathias stepped forward, ushering me softly down between a few trees.

The Sheriff and Vic climbed into one an SUV-style vehicle ahead of us and Mathias lead me to his. He helped me climb into the passenger side and then we were off, driving back down the dirt road. I just stared out the window at the passing trees, "Ya' know, if you told us your name it'd help not just us but you too."

"Sabes que mi nombre no me ayudaria." You knowing my name would not help me.

He turned and glanced at me, "If you're in any trouble, scared about someone coming after you, they can help you."

I had to stop talking; I had to stop thinking about myself. It wasn't just me.

When we reached the station in town, I kept my head down, I looked at the cement, like the cracks in it were so fascinating. Getting inside the office, I was met with a new face. She seemed so gentle; her name was Ruby. She handed me a pair of grey sweats and a zip-up to put on.

"You can change over here dear," She lead me away from the other 3 and to a door labeled 'Reading Room.'

I stepped in and pulled off the thin tank top I had on, zipped up the sweater, and then took off the pajama shorts I had on and put on the sweats.

I opened the door and stepped out to see Vic waiting on me, "Sorry, they're just waiting inside here," she led me through the next doorway and I was sat on a couch.

Vic handed me a small glass of water and said she would be back. I looked around the office, wood, wood, and more wood, not to mention bookcases as well as gun cases. Shortly after that, I heard what was supposed to be hushed arguing. I could hear them bicker back and forth, they went on about- about me. I tried to listen but my ears felt like they were full of water.

I had my legs crossed under me when the door pushed open slowly, "We just wanna ask you a few questions. Figure out how to get you home. Now, if there is any way for you to communicate with us, that'd be helpful too." Walt spoke softly as he pulled up a chair to sit in front of me.

I shook my head fervently, "I-I do-don't uhh... remember."

"So she does speak English," Vic commented from the back.

"Could you tell us your name?" Mathias spoke up from behind Walt.

"Usted sabiendo mi nombre no ayudara," I cleared my throat, they can't find me based on just my name, "It won't help you."

"C'mon, it won't hurt to try." Mathias looked so sincere when he said it. I gave in.

"Veaha- Nevaeh. My name is Nevaeh Blackridge."

"Alright Nevaeh that's good, now can you tell us, is Spanish your first language or English?" Walt asked.

"English..." I shouldn't be saying this," We speak Spanish at my home..."

"Ok, Nevaeh, it'd be super helpful if you could tell us what happened last night why we found like that this morning."

I shook my head again, tears in my eyes, "I-I do-don't remember. I-I re-really do-don't. All I-I know is feeling a burning in my chest, and an aching in my legs... it was dark and then it was light..." My eyes snapped open, I didn't even realize they were closed. Tears streaked down my face.

"Nevaeh, we found you 8 miles from the res' boundary. Do you know if you were running to of from there?" Mathias crouched in front of me.

"I-I think so..."

Vic brought over a map of the land near the res' and near where they found me, "We found you here, do think you could get us close as to where to start looking?"

I nodded softly and looked at the words on the map and tried to remember anything told to me before last night, "There... I think"

Mathias and Walt looked at where I pointed and it was close to where they found me but it was still on res' land. They shared a look and then back to me.

"Nevaeh we're gonna take you to the hospital to get checked out ok? It'll be quick, we'll get you some real clothes and some food too." Walt spoke softly.

I shook my head, the tears at bay again, "No I'm fine please..."

"Nevaeh your feet are cut pretty badly. You have cuts up and down your feet as well as your arms. We just wanna make sure you have no other injuries and that these ones get treated." Mathias held his hand out.

I nodded and grabbed his hand.

At the hospital the nurse was sweet, she seemed very genuine. She asked me to undress on a white paper and put on a medical gown. I did as she asked and as I pulled off the sweats I saw newly formed bruises up and down my legs, the same as on my torso when I took the sweater they gave me.

When I stepped out from behind the privacy wall the nurse cleared her throat and apologized for what she had to do next. She photographed the bruises, swabbed my cheek, checked under my fingernails, and then she asked me to lay back on the examination bed. What she did next, I couldn't help but cry.

As she finished she sealed up some bags as well as envelopes and sent them out of the room. She dressed the more serious of my cuts and wrapped the bruises around my torso, something about a bruised rib. When she left the room she told me the doctor would be in shortly. I nodded and she handed me a tissue. I looked at the room I was sat in, it was so clean... there were posters of the different body parts and health warnings.

When a man walked in I'm assuming to be the doctor, he smiled solemnly, "Hi Nevaeh, I'm Doctor Weston. I have a few results I wanna share with you and some questions I wanna ask you."

"Do you have any friends or family the sheriff could call?"

I shook my head; he's not looking.

"Nevaeh, some of the injuries you suffered indicate that someone did this to you. You don't have to protect them anymore."

"I'm not... I just... can't remember."

"Before I release you, we got an early result back that shows you may have been pregnant recently."

My breath hitched in my throat, "I-I ... My baby didn't make it... I used to do a lot of gymnastics... High stress sport and I didn't know how far along I was... My stupidity." It was what I told myself all the time; it sounded true.

"Alright, Nevaeh. I'll let them know outside you're ready."

After the doctor left it was a few minutes before Vic entered. She brought a change of clothes and fresh undergarments and some shoes. She left the room and let me change, had me come out when I was done. They were just down the hallway from the door.

"So we're gonna take you back to the station till we can find you a place to stay," Walt spoke.

"When we get to the station... can I talk to you guys." They were actually trying to help; maybe they could help me.

Mathias and Walt exchanged a looked and then nodded. Back at the station, I was sat back on the couch; the sun was getting ready to set.

"What's on your mind, Nevaeh?" Mathias asked, his arms crossed as he leaned against Walt’s desk.

"Look, I do want your help but, I don't remember. What I do remember is that he wouldn't let me outside, and I can't forget the smell."

Mathias sighed, "Nevaeh, I'm sorry but, that doesn't help us."

"I'm saying if you can get me there, I can tell you whether or not I was there."

Walt and Mathias agreed it would be better if they worked it together, and as for where I would be staying, they didn't know if whoever left me in the woods would try looking for me so they sent me to a mutual friend.

Mathias drove down the road, the night sky looking beautiful, lit with stars.

"So, where am I going?"

"It's a bar, the owner has an apartment upstairs. Henry is a good man, you can trust him. He'll check on you a few times to make sure you're comfortable. He can be a bit serious but, that's him being friendly."

"Got it. Uhm... so tomorrow, are we gonna go back and check the woods where you guys found me?"

"No. We are, you are going to stay with Henry, get better. Try and remember anything you can about last night."

I sighed in defeat; if I was going to find them, I would have to do it on my own.

Arriving at the bar, it looked just like a roadside barn on the outside. A man a bit taller than Mathias walked towards the SUV. As I hobbled out he offered to help me, "Thanks."

"Mathias tells me you need a place to stay." Henry smiled softly.

"She'll be okay here for a few days?" Mathias asked as he rounded the hood.

"She'll be fine."

"Will you be back?" I asked as Mathias turned back to the SUV.

"... Yeah. Walt or I will be back tomorrow to check on you; let you know what we come up with." Mathias nodded.

Henry led me up the steps, slowly, to the apartment entrance. He let me comfortable. He showed me where everything was and offered me dinner. I said I just wanted to rest after being poked and prodded all day. He nodded and said he'd just be downstairs. He said I could ring him at the bar if I needed anything, to not go outside unless it was important.

I laid on the bed letting my body rest, my side ached, and my muscles burned. I wished I could remember what happened, but all I could think about was laughter... Cutesy, little giggly, laughter.

My eyes snapped open when I heard the doorknob jiggle. I rolled over to the far side of the bed and onto the floor. The space was small, so was I. When the door opened the lights turned on and all I could see were the boots of the person who entered. My mind was going a mile a second; I couldn't hear anymore. It was like my ears were full of water again. mysterious boots rushed around the room and then stopped. My eyes widened, and I tried to hold my breath. The person who came in dropped to the floor and I nearly screamed.

I scouted myself deeper under the bed, and against the wall the headboard rested against. Henry disappeared from my sight; my mind was racing, my chest was pounding, I couldn't breathe. The next thing I knew, I saw Mathias; he was reaching out towards me, saying something.

I reached out slowly and grabbed his hand; he carefully slid me out of my hiding spot and to his chest. The look on his face and Henry's; I just broke down. The ugly sob that left my throat, The tears that ran like waterfalls down my cheeks. It wasn't pretty, but pain never is.

It took me a minute to calm down, to get my breathing back to normal, to slow the tears and my heart. When I did, I felt embarrassed, "I-I'm sorry. I didn't mean to cause such a -be a hassle. I didn't even mean to doze off. and the door- it scared me. I just panicked-"

"Nevaeh. It's ok. It's alright. Henry was just coming to check on you. He didn't mean to scare you." Mathias cradled my face and looked me over.

"I am truly sorry, I should have announced myself before I opened the door." Henry looked ashamed.

"Nevaeh, breathe. Just take a breath in and out."

It took me a good while to calm down and before Mathias let go. He sat me on the bed and pulled up a chair from the table, "Nevaeh, I need to ask you just a few more questions."

I just nodded, my fingers picking at one another.

"Doc estimated you were around your late 20's, you're 5'4" yet you're small enough to fit under that bed."

"And? What are you asking?"

"Nevaeh, I'm trying to figure out how far back we need to look for possible kidnappings-"

"Mathias, all I remember is the inside of that house and looking out one window wishing I could be outside."

"Ok, Nevaeh, you should try getting some actual rest. Henry, let her know when you open that door." Mathias gathered a few things and headed for the door.

"Vaeha- you can call me Vaeha."

Both of them nodded and Mathias left through the door. Henry brought me a glass of water, shuffling a few things around here and there.

"Uhh- Henry, do you think you could stay up here with me... I feel like I'm too jumpy to be left alone."

Henry nodded and gave a quiet of course. He went to finish locking up downstairs and I settled back in, seated on the bed. I fiddled with the bandage wrapped around my calf, zoned out. The silence of being on the roadside was peaceful. Every once in a while I could hear Henry moving around downstairs, putting stuff away.

When he came back upstairs, we settled into a slightly uncomfortable silence. I could never sleep by myself. Especially in a different place, I've never been anywhere else.

"Vaeha, if I may? Did you know who was hiding you all this time?"

"Uhh... Not really, I mean it wasn't like I was born and never let out. My childhood was pretty, well kind of normal. Then one day, my dad said 'I can't let the world take you from me too', he was so paranoid. Sometime later another man joined him..."

"I'm sorry, that sounds rather troubling."

"I got used to it. I stopped asking to go outside. I took advantage of the one window I had access to. It wasn't easy or fun, but I ... lived."

The next morning I found a new stack of clothing and a note from Henry;

Went into town, should be back by noon Help yourself to something to eat and a shower. -Henry

I showered first, basked in the hot water. It felt good to get clean. After getting out of the shower I threw on the jeans and tank top that were left for me. I grabbed the zip-up from the bed and looked at the time. 10:30. I didn't feel hungry but I did feel like getting some air. They didn't want me going outside but I wanted more than just opening a window.

Fuck it.

I pulled on the shoes I had and left the apartment. I walked to the tree line behind the bar and took several deep breathes. I took a seat and threw myself back into the foliage. I stared up at the morning sky, the treetops, and the clouds.

I heard the familiar hum of an SUV and just closed my eyes, "Vaeha? Vaeha, what are you doing out here?"

"What does it look like, Mathias. I'm getting fresh air, I'm focusing on breathing."

"You could open a window." He sounded frustrated.

"Why don't you come focus with me. You seem a little irritated."

He huffed and crouched next to me. "Ya know when what I was stuck inside all that time, all I had was a window. Now I have the option to go outside... I'm gonna sit out here. If I die, I die."

"Look, I am a little irritated, but it just feels like we're going in circles... and I can't shake this feeling that I should know you, your face."

I chuckled a bit, "Tell me about it, my memory feels like a swirling drain that won't empty. Just round and round it goes. Not to mention you. The second I saw your face, it seemed familiar."

"Oh so it's not just me?"

I shook my head, "Nope. I appreciate that you're worried and you want to help me."

Mathias stayed with me for a bit as I dozed off under the sun. When Henry got back we dusted ourselves off and I headed back up to the apartment. Mathias looked torn, they were really trying to help. I didn't even tell him or Henry that I recognized this bar...

Henry came up and asked if I was hungry and I nodded. He led me into the bar and made us both lunch.

Henry cleared his throat as he sat down with me, "I don't mean to pry, but how is Mathias with you?"

"Erm... He's nice, he seems genuinely sincere about helping me. Why?"

Henry looked at me with an honest smile, "Mathias is very much about our people, and knowing that you may be from the res' he feels the sense to right that wrong. Then there's how the two of you look at each other."

His words caught in my throat as I chewed. I coughed and looked at him quizzically, "What? I don't- Mathias and I don't look at each other anyway."

"Vaeha, I'm not blind. The others may be oblivious to it but not I. Mathias wouldn't care as much as he does, come here in the middle of the night if he didn't care. He also does not usually work cases with Walt."

"So what are you saying? Should I be careful? Should I not trust him-"

"No no- I'm saying you should definitely trust him. Let him in, let him help you." Henry said earnestly.

I chuckled a bit at his words, "Henry when you're hidden from the world. Told that everything and anything will try to stomp out the flame you have inside; trusting people doesn't come easy."

"I can see it in your eyes, for you, trusting him is easier than you think."

"I don't think I like being read like a book, please stop." I chuckled.

Henry lifted his hand as he took my empty plate, "I didn't mean to overstep, I just think it'd be good for you to have someone you can have there for you."

"Wouldn't that be crossing a line... I mean I'm a victim." Calling myself that didn’t feel right, I didn’t feel like one...

"It's technically Walt's case, Mathias and his department don't have to funds to handle a case like yours."

"Are you encouraging me- us- whatever you're reading into."

He chuckled but didn't give an answer. I rolled my eyes, told him I was heading back up to the apartment and to bed. Still tired from yesterday.

I put on the pajamas Henry had brought me from town and laid on the bed, my back facing the door. I dozed off, the sound of Henry opening his bar and the chatter of people below, lulled me to sleep.

My eyes snapped open, the sound of giggling ringing in my ears. I rolled over slowly, scanned the room, and didn't see anything, I didn't see Henry either. I could still hear the noise of people downstairs, he's still open.

I stood from the bed, my breath hitched, and my muscles ached. I couldn't hear the noise anymore, the dullness was back. Just on instinct, I start moving; I walked out of the apartment. I walked down the steps and down the road. I walked through the opposing treeline till I heard the sound of water sloshing. It broke through the dullness I looked up from the dirt path and saw water. I've been here before. My legs gave out from under me, landing me just inches from the water.

"The sky is so pretty..."

When I woke up in the morning I knew I was in trouble. I could hear my name being called out, "Mierda."

I slowly dusted myself off, some of the mud proving rather stubborn now dried. I hobbled my way up to the tree line towards the dirt path when I ran into Henry, "Fuck!"

"Vaeha, what happened to you? Where have you been?"

"I uhh-"

"There you are!" I heard their voices in unison.

"Ah shit." I dropped my head.

Walt and Mathias practically jumped on me when they caught up, "Wanna tell us what you were doing out here? You were gone all night, you know how dangerous that was!?"

"What Mathias- I had a... a weird dream... I heard something, and I took a- midnight stroll. I'm sorry."

"Midnight stroll? Nevaeh, do you know how far you are from the Red Pony?" Walt asked as he handed me a clean jacket.

"Wha- isn't it just through the trees right here?"

They all looked at each other and then at me, "No, Vaeha, what kind of a dream did you have that led you out here?"

"Well, I just heard laughter, and I figured that I was either crazy or something and you all were busy so I'd just take a walk."

Walt's other deputy came up beside him and told him he had a call. He walked a few steps away and took it.

"Vaeha you can't keep doing stuff like this, you know that right?"

"Why Mathias, does it make me look suspicious?"

He didn't say anything to object to it and I just stared at him, "Really? Oh, didn't know the battered woman you found shattered to pieces could look that suspicious."

I stepped around him, that hurt more than I thought it would. As I hobbled back down the dirt path Walt stopped me.

"I think there's something you need to see."

"What?"

#Longmire #mathias #mathias clark #henry #henry standing bear #vic moretti #the ferg #Mathias x oc #female character #deadgirl-writes #on boundary #on boundary pt. 1 #pt. 1

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theliterateape · 3 years ago

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A Bad Landing Destroys the Entire Trip

by Don Hall

You're on a plane flying across the country. The security check-in was a breeze. You were in the mid-section but as you board the attendant moves you up to the third row. The in-flight movie is one you've been dying to see and the flight is almost completely devoid of turbulence. It's a wonderful flight.

As you descend to land, however, the turbulence gets kind of insane. At one point, the oxygen masks pop out and upon hitting the ground, the front tire of the landing gear snaps off and you screech to a long, terrifying halt in the middle of the runway.

The flight is remembered as one of the worst, most traumatic experiences of your life.

I was severely late to the Game of Thrones party. Everyone in the free world (which is actually how Twitter feels until you realize how small a percentage of sentient humans use the app) was into it. Podcasts about it. Constant raving about it. I finally caved in and decided to binge the whole thing once the ending was in sight.

I loved it. Until the landing. The last five or so episodes were so rushed, so poorly thought out, and so sloppily put together (a Starbucks cup on the set of one of the most expensive and immersive televisions shows in modern history?) that the result seems to be a wholesale rejection of everything enjoyed breathlessly for years.

The very instant Twitter discovered the tepid ending, the uprise was evident. A huge flare-up followed by...silence. These days, if I ask someone I know was a whole hog GoT fan about Westeros, I receive a shrug and the quick response of bringing up a bad break-up from a disappointing ex.

My mom and dad loved Longmire. Effectively a crime procedural set in rural Wyoming and centered on a sheriff who reminded me of nothing less than my dad if he were a sheriff in Cheyenne country. Mom and I frequently (as so many do) recommend television and film that we think the other will dig, so I bit and jumped into the first episode.

Dana didn't care for it; I thought it had some merit if for no other reasons than I love Katee Sackhoff and Lou Diamond Phillips and firmly believe neither get enough screen time. I've spent my pandemic watching long form, episodic shows so the "Crime/Investigate/Solve the Crime" in one hour format was a step backwards but I liked Walt Longmire and I especially enjoyed the themes around white people co-existing with Native Americans. I can't recall too many shows that explore Life on the Rez in too much detail so this was new and interesting.

I binged some with breaks for six seasons. The first three were produced by AMC, the show was canceled then picked up by Netflix for three more. All in all, I spent a truly enjoyable 60 hours with Walt, Vic, Henry, the Ferg, Jacob Nighthorse, and Hector.

It was apparent that the writers knew the series was ending with Season Six, so they started wrapping things up in fairly tidy fashion. It felt a bit rushed but I was willing to go along with a lot of it until the last three episodes and then it took a shit. Like the writers all got high and told the interns to finish it up.

Now, despite digging 57 hours of the show, the last three hours prevent me from recommending it to anyone.

You decide to take your wife for a high-end meal at one of the super-swank restaurants on the Las Vegas Strip. It's beautiful and sexy inside. You are seated at a table with a view of the Bellagio Fountain.

You order and each course is better than the last. The liquor is top-shelf. The food is fresh and expertly prepared, each bite melting inside you mouth like nutritious gold.

The dessert comes and, unknown to you, the chef has left a solid chunk of dog turd in the center of it. You bite down on dogshit and instantly vomit into your wife's lap.

The dinner is remembered as the worst in your life. Your wife declares that she will never eat out again and you subsist on nothing but Ramen and canned soup for the rest of your life.

It is a fundamental truth that no matter how solid the ride is, if you can't stick the fucking landing, the landing is the only thing anyone remembers (except your mom because she loves you and will lie to you to make you not want to eat a bullet).

Endings are almost more important than the rest of the journey.

We all loved Lost until we didn't. We all reveled in Dexter until it blew chunks. Stephen King managed to create one of the scariest creations in fiction with Pennywise then made him a giant spider who is defeated by people taunting him.

Granted, one man's shit ending may be another man's perfect ending. I've read that the conclusion of War of the Worlds (the aliens are done in by germs) is somewhat like the ending of Signs (water kills them so why hop over to a planet covered in fucking water) but for some reason I love the first and despise the second. Maybe it's Mel Gibson?

Lots of folks hated the ending of The Sopranos but I loved it.

Whatever the case, a bad landing blows the entire ride.

You have ten years of a great marriage. Lots of love, lots of sex, lots of vacations. Compromises and laughter. Fights and reconciliations.

But the last year, she has an affair with a mutual friend that she’s cast in a bunch of shows with you and it ends badly.

No matter how good the good years were, you're see that marriage as a failure.

The ending is essential to the journey.

#bad endings #GoT #Longmire

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what-a-messsss · 4 years ago

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1x9 rewatch

Yeeeee, this has Jacob and Mathias. Good good. ...It bothers me faaaar more than it should (which is to say, at all) that the episode title “Dogs, Horses and Indians” doesn’t have an Oxford comma. Like, a lot. o.o

Aaaaaahahaha, and here is Mathias being sneaky, sending Walt and Vic off to the northeast quadrant! And I am once again confronted with my own double standard. Because Mathias doing this has me kind of proud of him, but if Walt did it, I would be loading the solar catapult. Hm.

Henry gives Walt so much leeway. Mathias’ little dig at Henry about living on the Rez his whole life makes more sense to me now. After all, Henry and Walt worked on oil rigs up in Alaska for at least part of their 20s according to later info. That and him living above the Red Pony now, in Durant, make sense that there might be some added friction.

Wooooow. Vic repeatedly said how weird it was that Mathias was being agreeable, so she just takes it upon herself to be even more of a jerk to balance things out? Which... the heavy irony being that her “Maybe they didn’t want you running the investigation” crack is right, but also super wrong.

Haa, the campaign advisor running “joke.” And Henry’s smiiiiile.

Oof. Walt does not know the meaning of “tread lightly,” but again, he’s not wrong about this one. Mathias did massively mess with the crime scene and muddle the investigation to a spectacular degree. But Mathias is wily, and far more savvy about politics than Walt ever chooses to be. And he’s right that he’s in an incredibly tight spot, and it’s not like he could have just asked for help. Even if Walt had been inclined to help (haa), doing so would have totally undermined his credibility with the force and the tribe.

“Come on, Sheriff. Can you look me in the eye and tell me you’ve never broke the law for the right reason?” Matty, that’s his whooooole modus operandi. As I think you well know.

I do wonder how long it’s been since Cady got her own place. No judgement on her credit card statements still going there; one of my bills still ends up going to my mom’s despite attempts to change that, and it’s been over 5 years since I’ve lived with her. But I do wonder.

GOLF. Baaahahaha, golf. Of course the Connallys golf. Barlow is suuuuuuuch a piece of shiiiiiit. And of course he’s already leveraging favours and keeping track. Oooo, but they do make it delightfully easy to hate him, and very satisfying, too.

NO, Walt, somebody being your deputy does not make their personal life your business. Even when it involves your daughter. Until either of them make it your business, it sure fucking isn’t. And then the look on Branch’s face when Walt goes, “You... that’s a different story.” Aaaah, back when Branch was vaguely sympathetic sometimes. Ish.

Why... why does Walt charge in with no backup so often? I guess just general self-destructive tendencies and all, but ffs. He takes on a biker gang in their home territory with no back up. On purpose. He has no idea that the deputies have figured out where he is and are coming. He just goes charging in and does some impressive damage, but if they hadn’t showed up when they did he’d be in traction or just flat out dead. Exhausting.

I cannot for the life of me remember the actor’s name, but he’s in my head as Gabriel from the bit of time I did watch Supernatural. He’s so squeaky new! He’s such a rube.

I wonder how many ‘excessive force’ charges have been filed against Walt. Probably not one in 20 times they could have been. Ruby is not impressed. And Vic is, as ever, an enabler. Oooooo, Ruby just called him Walter. She means business. Too bad he doesn’t give a shit about anything but what he wants. ...I think I just figured out part of why Walt pisses me off so much. That entitlement to do whatever the hell he wants and bother the rest rings really familiar from my dad. Womp womp. That can go on the list of things to talk about with the therapist.

Awwwww, Cady’s graduation photo on Henry’s desk! He’s such a good second dad.

I hadn’t thought about it the first time around, but @cminerva said something in one of our musings (that I think went into our joint fic) about Walt making Mathias come to him for things. And here we are in the Red Pony, with Walt having had the Tribal Council brought to him, all 10 or so of them, rather than to go to them. Which... that’s some fucked up power dynamic bullshit right there. And they’re all sitting in a semi-circle, with Walt and Vic standing. This is... so uncomfortable. Crusty old white man scolds Tribal Council, literally standing there with his hands on his hips. WITH HIS HAND ON HIS GUN--I fricking swear to gods, Walt, what the flaming hell.

Yeeeeeee, Jacob. He’s so fluffy. The sides of his hair are so long. This is a delight. Ok, but can I just take a moment with the fact that Jacob bought Eaglestar’s debt? From a cynical point of view, it could be to make sure that he had the president of the tribal council effectively in his pocket, and there was probably an element of that. But I do genuinely believe that as much of a pragmatist as he is, Jacob is a thwarted optimist. When he says, “Because I bought his debt. ...I wanted to make sure no one could influence his decisions, no one could force him to act against his own judgment,” that he’s telling the truth. “He may have had demons, but he was his own man.” I think that he probably hopes the same for himself.

Cady’s faaaace when Walt gets back and is ignoring the excessive force charge. Officially one of my favourite moments of the whole show now. Yus. The sheer lack of respect that Walt has for his daughter. Blatant lack of respect for her and her expertice. Yeet him into the sun, I’m telling you.

Who she sleeps with is not about you, you jackass. This is such a good scene for her as an actor. And such a bad scene for him as a dad. He’s such a bad father. Which makes me about 400x more grateful that she basically has Henry as her Other Dad. Who does not suck as much. Damn.

Mmmmm, Henry’s glasses make a return.

Vic’s “don’t shit where you eat” is pretty rich, considering her multi-year boner for her boss, and then actually getting together with him.

I’m pretty ridiculously gone on Jacob. He walks back in at the end the ep and my sad little heart just goes pitter patter. I’d sort of forgotten that he doesn’t meet the blood-quantum requirements.

“Not cynical. Just suspicious.” No, no, suspicious aaand cynical. You’re mighty good at multitasking on the shitty stuff, Walt. The accusations he levels at Jacob are so utterly circumstantial, so completely without any shred of proof to back them up, but we’re still in the early days of the show, where we’ve seen him spin these “here’s what happened” things had seen them pan out, that the audience is inclined to believe him. Walt also has a tendency to complicate things.

If Jacob was setting up dominoes behind the scenes, the convoluted mess that Walt postulates still doesn’t really make sense. It would make more sense for Jacob to buy Malcolm’s debt in the hopes that he would possibly feel indebted or otherwise favourable towards him to not pass the blood-quantum resolution in the first place. Arranging a convoluted murder to get himself a place on the council when there are clearly election anyway is just... not clean, not smart, and too liable to go wrong. Jacob is careful and while he prefers delegating, a total wild card like Mika would be a huge risk for something that could blow up in his face so spectacularly. Walt, you make no sense. Como siempre.

This scene at the end with Branch and Cady reinforces my theory that Branch desperately wanted anything positive from Walt. “He’ll get over it.” “Yeah, with you. You’re his daughter. But me?” And that’s kind of gutting for him. So he squares up and off he goes.

“And I’m no quitter.” No, you’re a drama llama. Sheesh.

#Longmire #episode commentary #Mathias #Jacob Nighthorse #I sort of like Walt but mostly hate his fricking guts #I spend a decent amount of time yelling that he needs to be flung into the sun #Cady #Branch

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solynaceawrites · 4 years ago

Text

Wires [2]: Defensive Wounds

Rating: Mature Archive Warnings: Graphic Depictions of Violence, Major Character Death Categories: F/F, F/M Fandom: Devil May Cry Relationships: Dante/Original Female Character(s), Implied Nero/Kyrie, Implied Vergil/Original Female Character(s), Implied Lady/Trish, Dante/Lirael Thorne, Dante/Lir Characters: Dante, Morrison, Nero, Original Female Character(s), Lirael Thorne, Lir Additional Tags: Alternate Universe - Detectives, Violence, Gore, Dark, Horror, Supernatural Elements, Implied/Referenced Alcohol Abuse/Alcoholism, Serial Killers, Angst, Eventual Romance, Eventual Smut Summary: In Red Grave City, a serial killer stalks the streets. Lirael Thorne, recently transferred from Fortuna and looking for an escape from her past, winds up on his trail. Hunting him with her veteran partner, Dante Redgrave, they try to piece together the wires that bind the three of them together. In a race to catch him before he leaves more victims in his wake, the things thought buried will come to the surface, tearing lives and comfort apart.

»»————-　⚜　————-««

“Agonies are one of my changes of garments, I do not ask the wounded person how he feels, I myself become the wounded person, My hurts turn livid upon me as I lean on a cane and observe.” — Walt Whitman

»»————-　⚜　————-««

The morgue is cool and quiet, gleaming metal polished to a shine that sends little daggers of light into Lir’s eyes. She gives herself a moment to adjust, listening to the faint tic tic tic of the freezers, fingering the bottle of aspirin in her pocket while she waits to see if the subtle pressure in her skull is going to shift from discomfort to agony. Next to the door is a desk, with a state of the art computer, a few files, a cup full of pens, and a half-drunk cup of coffee with lipstick on the rim; beyond that, there is another door, one that probably leads to a storage room, two walls of cold lockers in four rows of four, and two x-ray displays on the final wall. In the center of the room are three slabs. On one of them is the Jane Doe, covered respectfully with a sheet, her eyes closed to give her an expression of peace. At her side is Trish, her blonde hair pulled into a knot at the top of her head and her face partially obscured by a sterile mask that she tugs down on Lir’s approach.

“Thorne,” she greets cheerfully. “You here for the autopsy report?” Lir nods, and Trish beckons her closer. “You’re right on time. Just got done with our guest.”

Lir isn’t sure what to make of having a corpse called a guest. Gallows humor, she supposes. “What can you tell me about her?”

“She suffered, that’s for certain.” Trish turns on the light over the slab and pulls it down, illuminating the Jane Doe with a grisly, fluorescent white that turns her already dead pallor a sickly blue-gray. Then she pulls the sheet down, and Lir is suddenly, incredibly grateful that she hasn’t eaten yet, the bile in her throat bitter but weak. “The throat and abdominal trauma was all perimortem. She was alive, but not struggling, when our killer cut her open. Judging from the tissue damage, looks like the throat happened first, but it was ultimately shock and blood loss that killed her.”

“She was alive for the whole thing?”

“Mm-hm. Though I don’t know how aware of it she was. I don’t have the toxicology report yet—that will take a little longer to run, sorry—but pupil dilation is indicative of intoxication. Judging from the depth of the gash here,” Trish points to Jane Doe’s throat, “it was more to keep her quiet than kill her. She would have bled out from that alone eventually if no one found her first, but it doesn’t go through bone. The hesitation marks at the edges make me think he was more . . . Well, there’s no easy way to say this. Probably sawed through her.”

Lir tries to picture it, being too strung out or drunk to defend herself, being helpless while some maniac slashed her throat and cut her open like a butcher. From the corner of her eye, she catches sight of a red dress and pale hair and holds her breath, counting to ten until it fades, then asks, “You said at the scene there weren’t any defensive wounds.”

“That’s right. And there aren’t. No blood or tissue under her nails, no bruising or scrapes or cuts to show that she tried to fight back.” Trish sighs, lifting the sheet back over Jane Doe before tugging off her gloves. “Whoever this is, they’re one sick puppy.”

“Yeah.” Photographs on the wall catch her attention, and Lir walks over to study them closely. They’re all from the crime scene, some of little bits of evidence next to their markers, others of the victim, and it’s the latter she really looks at. “Does that pendant have any religious connotations?”

“You’d have to check. Why?”

“I just thought she looks kind of like an angel.”

Trish comes to stand next to her, her expression grave. “You know, I had the same idea.”

They stand in a heavy silence, the clock on the wall ticking loudly until Lir sighs. She bids farewell to Trish, who promises to have the full report to her by the end of the day, and takes the elevator back up to the bullpen. Dante will no doubt want to know what she’s learned, but she finds that she doesn’t quite want to tell him. Something about this all is nagging her, tugging the thin strands of her memory with an urgency, look, look, you’ve seen this before, even though she’s fairly certain that she never has. Was there a similar case in Fortuna? So lost in wracking her thoughts she nearly runs right into Simmons as she steps off the elevator, and she mumbles an apology and returns to her desk, where she boots up the computer, hunting for a notepad and a pen while she waits for it to finish loading.

A cup of coffee thudding next to her elbow has her peering up. Dante sits back down, a cup of his own in his hand that he raises to her before he takes a sip. His face screws up in disgust. “Fuck. No matter how long I’m here, coffee still tastes like shit. What’d Trish say?”

“That we’d have the full report soon,” Lir replies. She finds what she was looking for and logs into the terminal. “Victim was slaughtered like livestock and left to die. Too something to even try to save her own life.”

“That all?”

She’s aware of his gaze, critical and assessing on her, and it makes her skin flush unpleasantly. “Until toxicology comes back.”

With a nod, he leans back in his seat. “Alright. What are your thoughts?”

Now you want to know? she nearly asks. Rubbing her temples, she replies instead, “Our guy is bold. A nightclub on one side, a bar on the other, people coming and going at all hours? Not to mention, he had to have been familiar with the location to avoid the security camera, if he did. Speaking of, is that footage here yet?” Dante shakes his head. “Right. Okay. So, Jane Doe was probably at one of the two places. Why risk dragging her any farther than that? And he had to get her to go with him somehow. A knife or a gun would have been too obvious, even for a crowded bar.”

“Could’ve posed as a hook-up,” Dante suggests.

“Mm. If she wasn’t drunk, he might have drugged her.”

“Drugs?”

“Her pupils were blown.”

“So,” he says slowly, “we’ve got a bold, possibly attractive killer who goes to bars to pick up women. Think he knew the vic?”

Lir realizes suddenly that he’s testing her, digging to see her worth, and it makes her angry all over again. “No, too risky. He’s got balls, but he’s not an idiot. All this planning, all the care he took, he wouldn’t want to leave any trace of himself, and that means he was probably a stranger and he picked her out when he got there. If it hadn’t been her, it would have been someone else.”

“Opportunistic. Well, shit. Means he’s gonna be a bitch to find.” He offers her a crooked grin that doesn’t reach his eyes. “Want to flip a coin to see who’s givin’ Morrison the news?”

“You do it. I need to look for something.”

Dante frowns then, but the expression is quickly smothered as he stands. He takes his coffee with him into Morrison’s office; once the door is closed firmly behind him, Lir releases a sigh and slumps in her chair, cradling her head in her hands. This was meant to be a new beginning for her. Get out of Fortuna, away from the good-intentioned but condescending men she worked with, leave the bitter break-up and the cramped apartment behind her to set out in the bigger city. Yet here she is, dealing with condescending men, living in an apartment that’s large enough to feel empty, with a killer that she knows she has an infinitesimally small chance of catching on her hands. Maybe I’ll get a cat, she thinks, and then discards it. She’s going to be too busy to give any pet the love it would deserve.

Lir pulls up the database and enters her credentials, watching the wheel spin as the program decides whether or not she’s allowed in. Once it opens, she navigates to the search bar, where she types evisceration, hoping the term will be narrow enough to ping any cases that might have been similar. All she gets are animal cruelty cases, youths torturing cats and dogs, and she groans. Next is religious, but that doesn’t get her anything other than some fraud. Jane Doe is too broad, while trying by location only gets her arrests for petty theft, assault, and drunk and disorderlies. Her fingers drum on her desk as she thinks; maybe, if whatever it is that she thinks she remembers was before her time in the force, it would have been before they started digitizing their records.

Which would mean figuring out the location and then digging through that city’s physical files.

She pinches the bridge of her nose. Most of what she said to Dante was speculation, and she knows that they’re going to spend at least a week trying to identify their victim and looking for anyone who might have seen her, tracking down friends and acquaintances and ex-boyfriends to see if any of them had the fury and the cruelty needed to butcher someone like that. If they’re lucky, she’ll have gotten into some sort of trouble with the law and there will be prints they can match. If they’re unlucky, it’s beating the streets, shoving her photograph in people’s faces to try and jar their memory.

“Detective?” Lir opens her eyes to find Simmons standing next to her, a USB stick in his hand. “The nightclub owner sent this over. Said it’s all the footage from the last twenty-four hours and you wanted it?”

He sounds uncertain, and she forces herself to smile. “Yeah, thanks. While I’ve got you here, can I ask a favor?” Hesitantly, he nods. “Head down to the morgue to get the victim’s prints from Trish and run ‘em, will you? It’s a long shot, but it might help us figure out who she is.”

Simmons doesn’t look like he finds the idea appealing, but he gives a weak salute and heads down the stairs. Lir watches him until he disappears into the elevator, and then she plugs the USB into her computer and opens the files to scroll through it. Twenty-four hours of hopefully unaltered footage stored in four hour chunks which, when she clicks on the first video to play it, turn out to be monochrome and grainy. She fights through the urge to yank her hair, instead getting up and going to grab a fresh cup of coffee from the canteen. After a moment of hesitation, she takes the entire pot, setting a second one to brew; this is going to be an all-nighter for sure, and the only thing that’s going to get her through it is enough caffeine to make her jittery.

Dante is back at his desk when she returns. He arches a brow at the sight of her with the pot, but that turns into a loud groan as she says, “Footage got here. All twenty-four hours worth. Want to grab a seat?”

“There’s a meeting room we can use,” he mutters. “Bigger screen. Grab it and let’s go. Is that all the coffee?”

“For now.”

His long-suffering sigh draws an unwilling smile from her. Dante leads her down a hallway to a room mostly taken up by a large oval table surrounded by plush leather chairs, and he sinks into one as she sets up the monitor on the wall and gets the USB situated. “Ready?”

“Not really.”

“Tough shit.” She chuckles and presses play.

Hours pass as they work through both the footage and the coffee, pausing only when they catch sight of a pale-haired woman before slumping back in disappointment and carrying on. Morrison stops by once to check on them, then Simmons with the news that the prints were a dead end, and finally Trish with her full report, toxicology included. None of them linger for more than a few minutes at most. Dante and Lir alternate bathroom breaks and coffee runs, neither of them willing to stop the tape until it’s done. Like ripping a bandaid off, she thinks at one point, stifling a yawn before taking a large swig of her lukewarm coffee. Get it over with in one go, no hesitation.

It’s just passed four in the morning when Dante lurches in his seat. “Pause it, pause it!” Lir jumps, pressing quickly on the remote, and he squints. “Rewind it a bit. There, stop, stop. Press play.”

“What is—oh!” She scrambles for the file on the table, flipping it open so she can see the picture of Jane Doe clipped to the inside. Pulling it free, she holds it up, glancing between it and the screen. “It’s her.”

“Mm. Looks like . . .” He leans forward, his eyes narrowed as his lips move silently. “Two?”

Lir blinks, then turns her laugh into a rough cough. “No. It’s, uh . . . It’s 3:37.”

Dante scowls at her as he reaches into the pocket of his vest to pull out a pair of square glasses, the style just as noir as his clothing. He perches them on his nose, then nods. “Yeah. Alright. So our victim walked into the club at 3:37 am. Since her body was found at quarter to eight, means there’s a five hour window for our killer to have found her and pulled her into the alley.”

“That’s if you don’t remove however long she was in the bar and the killer leaving,” Lir points out.

He clicks his tongue. “Don’t be a wiseass, Thorne. It’s not cute.”

“I’m not here to be cute,” she replies irritably.

“Shame.” Just as she’s debating dumping her coffee on him, he asks, “There a way to print this? We’ll take it with her autopsy photo and show it to the staff at the club, see if any of ‘em remember her. Maybe she paid with a credit card, which’d give us a name.”

“You plannin’ to sleep tonight?” she asks dryly.

“Sleep when you’re dead, Thorne. Print and let’s go.”

Biting her tongue, she heads back to the computer attached to the monitor and screenshots the frozen video. Once it’s in her hands, the two of them head out back, where the employee lot is, and Dante leads her to a car that she recognizes from her childhood. Her mouth drops open as she takes in the ‘58 Corvette, the same type her father had often talked dreamily of owning when he retired, the black paint and white cut-outs glossy in the early dawn light. The top is closed against the dew, but she can still make the red leather interior, and she laughs incredulously when Dante unlocks it. “Seriously?”

“You can take a cab if you like,” he replies tightly.

Lir closes her mouth and climbs in, looking around curiously. The seats are incredibly comfortable, and it doesn’t seem like Dante has done any upgrading to it at all: the gearshift is still topped by a clean white knob, and the only source of sound is the radio, the knob of which Dante turns until classical rock filters softly through the speakers. A good car is like a good woman, her father had told her two months before his death, holding her in his lap as he pointed to the yellowed magazine, treat her right and she’ll stick with you for life. She’d put the damned ad in his casket before they buried him, and Lir closes her eyes against both the unwelcome sting of tears and the sight of him with his misshapen head on the silk pillow. Botched robbery, her mother said tearfully. Throat closed with sudden grief, just as sharp as it had been then, Lir hardly notices when they pull away from the curb.

“She’s beautiful,” she whispers.

Dante’s startled silence is the only reply she gets.

#dmc #devil may cry #dmc dante #dante #dante sparda #dmc oc #lirael thorne #lir #dmc fanfic #dmc fanfiction #writing #story #myfic #wires

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hoidn · 4 years ago

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@tulipa12 said:

Cool! l‘m interested in Longmire: unconventional courtship AU 🙃

thank you for playing! if you’re not familiar with unconventional courtship, it’s “a panfandom challenge that aims to produce fics longer than 1,000 words based on a Mills & Boon/Harlequin novel summary.” there’s a generator that spits out random summaries, which can be tailored to one’s preferred OTP/OT3 and pronouns, and i may possibly have entertained myself faaaaaar too much over the years doing just that.

anyway, this particular WIP idea arose from one of those summaries:

260) High-Stakes Bachelor by Cindy Dees

Wannabe stuntwoman Vic Moretti can't believe she's landed a starring role in actor-producer Walt Longmire's new film. A plain-Jane nobody and a megastar? Their on-screen chemistry is electric, burning up the celluloid… but offscreen, Vic is stalked by danger.

Like a true Hollywood hero, Walt whisks her to his oceanfront mansion, practising love scenes while keeping her safe. But when their real-life relationship starts mirroring the movie's leading couple, the confirmed bachelor fears he may fall for the doe-eyed ingenue. If the stalker doesn't get her first…

YES I KNOW IT’S DREADFUL. i downloaded the ‘preview’ of the ebook (which is chapter 1) just for the lulz and, if you can believe it, the book is actually worse than the summary makes it sound. but my brain said: “consider that canon already provides us with vic’s stalker! AND HENRY CAN BE THE DIRECTOR OMG. their production company is Remember the Asymptote (or maybe just The Asymptote?) Productions :D” <- copied from my notes.

the basic setup is that walt and henry are your average critically acclaimed, award-winning, eschewing-the-limelight celebrities who own a production company together. walt writes and acts; henry directs. enter vic! she’s a stuntwoman (not a wannabe) who’s been occasionally cast in one- or two-line roles. she gets hired to work on the new longmire-standing bear production as the stunt double for the film’s lead actress, lizzie ambrose. alas, lizzie ends up injured (maybe in a car accident or something idk who cares?) and can’t make the film. oh noes! production has already started and there’s a budget and deadlines and whatnot. vic accidentally overhears part of a What Do We Do Now? conversation. it’s pretty rough, but here is a part i don’t hate:

"Maybe he's right," Walt said.

"That is unlikely." A pause. "Right about what?"

"Maybe she's too young. She's what, around Cady's age?"

"I believe she is several years older."

"Still..."

"If you do not want to work with her, we will look for someone else."

Walt sighed. "We already looked, and we ended up with Lizzie because there wasn't anyone else.” A longer pause. “It's not that I don't want to work with Vic. Yesterday was good. We had a good rapport.”

“Until you punched her.”

Vic rolled her eyes. Why did Henry have to keep bringing that up? There was no response from Walt, at least none she could hear, and the silence made her skin itch. She wanted to know more of his thoughts about their good rapport. She wanted him to talk about how he didn’t not want to work with her.

Finally, she heard one of them clear his throat. It had to be Walt.

“I just don't want it to become about the age difference instead of the story. I don't want it reduced to being another movie about an old man and a young woman."

"That will not happen.” Another pause, then Henry again. “Because you are not an old man."

"I feel like it some days."

"We are the same age, Walt. If you are an old man then I am one, too. And I am not an old man."

walt obviously does not have an oceanfront mansion. vic is obviously not a doe-eyed ingenue (ugh). they will not be “practising love scenes,” at least not off camera. but they will fall in luuuurve and it will be ~complicated.

#longmire #sometimes i write things #meme sheep

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lextherandlxce · 6 years ago

Note

Restrained +1 (for Vic and Branch)

1. Locked in the trunk of a car

@illxadvised

"Heeeyyy!!!” Branch screamed at the top of his lungs.

His throat was raw from yelling. Soon he might not have a voice to yell...or even plead with. His fists and arms hurt from banging on the inside of the trunk, his feet kicking at the same time. All his vision was tainted red, the cars trunk only illuminated by a tiny scarlet bulb. It didn’t help him much. It was too dim to make anything out properly. That hadn’t stopped him from groping around to try to find any lever to pop the trunk open or even a weapon to use once the trunk was opened.

His skull throbbed and his ears rang from the incredibly harsh blow to the head that had dazed him enough to allow someone to shove him in the trunk of a car and speed off. Once he came back to himself, and he knew his father would lose his mind once he found out that Branch may have passed out for a while, he’d quickly taken stock of what was on his person. His gun, his phone, and his walkie were all missing. The only things he had were his deputy’s badge still on his uniform and his hat had been haphazardly tossed in the trunk with him. There was no way he could call for help or let Walt know what was going on.

But he had his voice, and he was using it. The fact that they were on a deserted road out of Durant must have account for why the driver hadn’t pulled over to bind and gag him. But Branch could hear it. There was another car. So he yelled and pounded on the trunk with his fists and feet, praying as panic slowly coiled around him, that the other driver might here him and think to call for help.

“Shut the fuck up!!” he heard from the front of the car. A sudden push on the breaks sent Branch sliding and knocking about the trunk as punishment. If the driver was doing that to shut him up...maybe he was scared that Branch’s calls were actually working.

Hope flared in his chest at the muffled sound of another car’s horn responding to the driver’s actions. With sweat drenching him both from the summer night’s heat and his own fear, Branch screamed until he was dizzy.

It prompted something serious. He heard the screech of tires, the roar of an engine, and multiple beeps of the other car’s horn. Branch looked around him though there was nothing to see, realizing that the other driver must have heard him and was trying to signal his abductor to stop. A much worse wave of fear settled over Branch. He needed help, but he didn’t want anyone to get hurt. He didn’t want the other driver to risk their life to be a hero and save him. His heart hammered in his chest, and he shook his head weakly.

“No...” he croaked softly. He then dragged in a hot stale breath, wiping the sweat off his brow before screaming, “Call the Sheriff!!!”

Because he couldn’t see it...he wasn’t quite sure what happened. All he knew was that he heard the other car accelerate once more, and the horn went silent. The car that he was in then swerved side to side, slamming on the breaks once more. Branch was tousled around roughly. Every part of his body seemed to bump or hit some part of the trunk. It hurt, but he hardly recognized it. The sound of a couple gunshots rang through his ears. The sound of a door opening from in front of him followed.

And then it was silent enough to deafen him.

Branch put his face in his palm, hot tears stinging his eyes. The one who had shoved him in here must have shot the other driver. Grief hit his chest, and for one delirious moment, he realized he felt such profound loss for someone that he’d never even seen. But they’d been so willing to try and help him....

The sound of his own ragged breaths and the ticking of the cooling engine swam around him, before he heard very calm and measured footsteps. Branch scowled, his eyes following the sound as best they could. He reached blindly for his hat, slipping it on his head and pushing it down securely. If he was being honest...he didn’t expect to survive this. He had nothing on his side other than a will to live and pure rage at the injustice done to another.

Maybe it would be enough.

He dragged his tired body into a position that would allow him to pounce on the other as soon as the trunk opened. He weakly hoped that a blindside of brute force might give him the upper hand. His hat shielded his few of the other’s face, though the influx of fresh air breathed new life into him. He lunged from the trunk, crying out as he did, pushing all of his strength and weight into the other man. He was rewarded with a loud ‘oof’ as his shoulder met the other man’s sternum. The impact sent them stumbling backwards, but Branch’s feral fury didn’t allow him to escape the other’s grip quite so easily. Firm hands and strong arms held him, keeping a tight grip on his arms so he couldn’t get a punch out.

Recognition hit him all at once. He knew these hands. He knew this smell. He knew the strength of these arms for different reasons and recognized the tattoos on them. He knew the cowboy boots the other wore, and he knew that voice. He’d know that voice anywhere. And just as the cooler night air sweeping into the trunk had coaxed life to Branch’s adrenaline fueled frenzy to fight to live...Vic’s presence drained all the fight from him. Enough so that he could actually hear and understand what his lover was saying to him.

“Branch!! It’s okay! It’s me! Calm down, you’re okay!”

Vic held him tight when Branch sagged in both relief and exhaustion, held him when Branch slowly turned around to stare into the handsome face of his lover.

And somehow...Branch had never felt so exposed in his entire life. He was living with this man. He had been naked and underneath this man. He’d had this man inside him. He’d fallen in love with this man. But he had never felt so bare before. Because in that moment...Vic saw him for all that he was. Just a man. Just as strong, brave, flawed, and human as anybody else despite the uniform he wore.

Branch moved shaking hands to Vic’s arms that were still holding him close. He rested his palms on Vic’s chest. His emotions were tangling in his own chest causing a lump in his throat that he swallowed with a audible gulp. He stared into pale blue eyes, the most stunning color in the world to him, eyes that said a million different things. That Vic was worried about him, that Vic wanted to protect him, that Vic was so grateful that Branch was alright. And seeing all the care and love in Vic’s gaze made the lump in Branch’s throat larger, and his eyes sting with tears he would never admit were there.

“Vic...” he said, his voice choking with emotion and too much use.

He didn’t have to use it anymore, because Vic cupped Branch’s face and kissed him soundly. He kissed Branch deep and hard enough to pour out all his adoration, all his love, and his loyalty. And even though Branch wanted to cry then more than ever, all he could do was clutch onto the front of Vic’s shirt. To pull him closer, and let all his gratitude, and his own love of the other man come through. For once, Branch didn’t care that they were kissing while he was wearing his deputy’s uniform. He didn’t care that it was out in public, illuminated by the headlights of Vic’s yellow Cadillac. All he knew was he’d been in serious trouble, the man he adored had come to get him, and it was just them now. His hat almost slipped off his head as they kissed, and Vic righted it with a tiny smirk when he pulled away. Branch laughed weakly, aware of how the night air was rapidly cooling his sweat slicked skin and dampened clothes. But Vic was warm.

“You okay, cowboy?” Vic asked, refusing to let Branch go even when he tried to lean back. So he stayed happily in Vic’s arms.

“Yeah,” he replied, his voice husky. Vic noticed how abused his throat was and pressed a chaste kiss to Branch’s lips. “You got your cell phone?”

“Uh, sure,” Vic said, black brows drawing together as he dug his phone out of his back pocket. Branch took it from him, punching in different numbers.

“I gotta call Walt,” he explained sheepishly. “He’s gonna be pissed that I let the guy get away. But this is a crime scene and--”

“You didn’t let the guy get away, I did,” Vic interrupted him. “If he wants to get mad, he can be mad at me.” Vic’s brows twitched upwards and he licked his lips, a slow grin spreading across his face. “But I’m hopin’ he might approve of me after all this.”

“What?” Branch said, his eyes wide, and his lips parted in shock. The phone was held to his hear, and he barely acknowledged the ringing.

“I know Walt is like your Dad. I know who you work with is your family,” Vic explained, glancing down at Branch’s badge and running a few fingers over the gold star. “I want them to like me. And I wanna meet all of them. But if it’s too soon...I could always just be a concerned citizen helping out a deputy in need...”

Branch leaned forward and pressed his lips to Vic. God damn it. Everything was happening so quickly with Vic. They’d only moved in together after two days fucking each other!! Vic was amazing. It was obvious that they loved each other. Yes it was too soon, but everything with Vic was happening ‘too soon’, and it was perfect. Branch sighed into the kiss and melted against Vic, he didn’t miss the happy hum that rumbled through Vic’s chest or how his lover immediately cupped his ass in his jeans.

Branch pulled away quickly when Ruby answered the station’s phone. His cheeks heated and Vic chuckled quietly. Branch asked for Walt to come out after briefly explaining what happened. He also asked for Henry to come out first thing in the morning to track where the man who had abducted Branch had gone. And after many reassurances that he was okay, and that a ‘witness’ was there to keep him company until Walt arrived, Branch handed Vic his phone back.

“They’ll be here in about thirty minutes,” Branch said, leaning his forehead on Vic’s shoulder briefly. He wrapped his arms around Vic’s neck before moving to look at him. And Vic would have been lying if he said that the worry in his chest didn’t lessen as Branch’s faint trembling did. Calm swept over him as the panic in Branch’s blue eyes lessened, their natural warmth and playfulness beginning to settle back in. “It’s gonna be a while ‘til they get here,” Branch murmured, his eyes currently staring at Vic’s lips. “Kiss me until they do?”

Branch never had to ask twice as Vic pulled his lover tighter to his chest. Nothing would have given him greater pleasure in that moment than to kiss Branch back in a state of well-being, and he was going to spoil his deputy rotten once they got back to Branch’s house. Vic was also fully intent on protecting his lover from whoever wished him harm. It looked like Vic had some of his own detective work to do. Mainly trying to figure out who had put Branch in the trunk of a car, and if Vic’s being in Durant had anything to do with it.

#illxadvised #Verse: How You Remind Me #{ Vic/Branch }#{ our sweet boys <333 }#{ ugh i love them so much!! }#{ i hope you like this luff and that I wrote Vic okay!! }

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writingsbyshay67ss · 7 years ago

Text

She's a Hunter?!

Characters: Reader x Dean x Sam

Warnings: None Really.

Summery: Dean is sitting inside a café by a window thinking of how he is going to get over what had happened to him in Hell. He has tried everything to ignore the pain but nothing seems to do the trick. Dean never let’s anyone see his pain because he thinks it makes him look weak. Little does he know his life was about to change because of you. You run into them on a hunt and things just go from there.

Sam walks into the bar and see’s Dean sitting in silence drinking a beer and takes a seat across from him.

Sam- “Dean what’s going on man? You’ve not been yourself lately and it worries me.”

Dean- “Seriously Sam? Not this again I told you I am fine.”

Sam- “No you’re not, you act like you are but your not. Not since you’ve been back. Talk to me.”

Dean- “Sam if you ask me if I’m okay one more time I’m going to start throwing punches.”

Sam- “Alright man, sorry.”

Dean- “What do you have on the case anything good?”

Sam- “It’s definitely something worth looking into. The police said she was attacked by some wild animal but from the looks of the last vic’s body I believe it could be a werewolf.”

Dean- “Great so we get to gank a heart eating bastard who can’t keep his hands to himself.”

Sam- “Looks like it.”

Dean- “Great let’s hit the road.”

The boys jump into baby and hit the road to Norway Colorado where three people were attacked. You were already on your way to the surviving vic’s house. Sam and Dean were just a couple miles from you when you walk up to her house. Little did you know your life was about to change forever as well. You walk up to her door and knock not expecting her to come to the door.

Reader- “Hi, are you Mallory Lance?”

Mallory- “Yes, may I help you?”

Reader- “Yes, I’m with the FBI here to follow up on your case. May I come in?”

Mallory- “Um yeah sure. I thought my case was closed?”

Reader- “I’m sorry, but we have reason to believe you gave false information and I just want to make sure you didn’t want to let us know anything you left behind.”

Mallory- “I’m sorry did you just accuse me of lying to the F.B.I?”

Reader- “Yes ma'am, but I am only here to protect you. We also have reason to believe that the killer is still out to get you. You see he never leave behind a survivor. You were the fist and..”

Mallory- “I was attacked by a wild animal.”

Reader- “No, you were attacked by a something else and if you don’t listen to me you are going to die.”

Mallory- “You are crazy you need to leave!”

Reader- “Mall-”

The doorbell rings and you jump up and grab the silver knife in you boot and prepare for a fight. The boys ask her the same question you already have and looked surprised when she tells them the FBI is already there.

Dean- “Well if you don’t mind we’d like to come in and hear what they have to say as well.”

Mallory- “I don’t think she is a real FBI agent please come in..she’s crazy and I need help getting her out."

(She says under her breath but you still hear her and hide your knife.)

They guys walk into the living room behind Mallory and see you standing with you hand behind you back. Dean’s brows squish together in confusion noticing your reaction and the way you’re dressed.

Dean- "Hi, I’m agent scully and this is agent Molder. We’ve not meet in the office before, what district are you in?”

Reader- “It doesn’t matter, you gentlemen are interrupting my investigation.”

Dean- “We were assigned this case as well so if you don’t mind us joining you on questioning.”

Mallory- “Actually she was just leaving.”

Reader- “Alright I will keep in contact. Here is my number in case you change your mind on wanting to talk.”

You walk pass Dean and bump his shoulder and give them both a mean look as you leave.

Dean- “Now that was rude.”

Sam- “Mallory, can you tell us what happened that night by the bar?”

Mallory- “Like I told the cops I had just clocked out and went outside for a smoke and next thing I know I’m waking up on the ground with blood all over me.”

Dean- “ So I’m guessing you didn’t see what had attacked you?”

Mallory- “No, all I saw was a man at the end of the alley and when I had turned around I felt a sharp pain in my back then blacked out.”

Sam- “You didn’t notice anything weird when you woke up? Like any fur on you or nail in your body?”

Mallory- “You sound just like that crazy "FBI” agent who just left. What is going on?“

Sam- "It’s okay you can tell us were only here to help. We won’t tell anyone what really happened to you.”

Mallory- “I was attacked by some wild animal I don’t know why she said it was something else. Monsters do not exist. She’s crazy and your crazy LEAVE!”

Dean- “Okay, okay were going.”

You watch the boys leave her house and you keep a close on them the next couple hours. When the boys make it back to the hotel they talk about you. You had already followed up on the pack and went after them alone.

Dean- “Who was that chick?”

Sam- “Not sure but I from what she had asked I’d say she is a hunter.”

Dean- “There’s something about her I can’t shake.”

Sam- “Dude, are you crushing?”

Dean- “What?! No! Shut up.”

Laughing Sam as he reaches for his laptop.

Dean- “So, what do you know about the hits and why he or she is going after just dark headed women?”

Sam- “I don’t think this is one werewolf, but multiple, like a pack.”

Dean- “Since when do werewolves hunt alone?”

Sam- “Maybe to keep a low profile?”

Dean- “If they wanted to keep a low profile they wouldn’t be hunting people in the first place don’t you think?”

Sam- “True but if they have "cubs” then they may have no choice.“

While Sam and Dean are wasting time you already found the pack and about to make your move. Just as you come into the bar they all hang out at one of them steps behind you and asks you to have a seat and a couple drinks with him. The boys figure out where the pack is and head straight to the same bar. The werewolf slides his hand down your arm and walts his other arm around your waist as the bartender, whom you assumed was one of them, slid a drink to you.

Reader- "What?”

James- “I asked you to have a drink with me?”

Reader- “Oh no I’m fine.”

James- “You sure about that sweetheart?”

He wasn’t bad looking at all but you knew a monster was always a monster.

Reader- “I think it’s best you take your hands off of me.”

James- “Oh come on now baby I’m not going to bite. Not unless you want me too.”

You knew where this was going and you knew you had to stop it before it had gotten out of hand. As he spins your chair around you started to go along with it.

Reader- “Okay, how about this you follow me outside and we will make this a real party?”

James- “Sounds appetizing.”

You and James step out back and he pushes you against the wall and runs his hands down your body and just ask you stab him more came out and jump you. Sam and Dean pull up and hear the fighting in the alley and come around too see you kicking werewolf ass.

Sam- “Hey!” -he yells at them and joins in along with Dean.

Reader- “I can handle this alone!”

One had grabbed you from behind and another in front of you rearing back his fist and punches you in the gut but you came back at him by pushing the guy behind you against the wall and slamming your head back nocking him out and using the force to kick the other guy in front and landing on top of him stabbing him in the throat.

Dean- “Don’t be stupid they’re to many.”

You notice that as you had already taken three down the boys had taken the other two.

Reader- “How did you guys even find us?”

Dean- “We have spidy senses.”

Reader- “Okay smart-ass.”

Sam- “We’re hunters too.”

Reader- “Oh okay so that makes it okay for you too jump in on someone else’s job?”

Dean- “Seriously lady we were only helping.”

Sam- “Why did you think you could do this alone in the first place?”

Reader- “It doesn’t matter why I did or didn’t it honestly isn’t none of your damn business now is it?”

Dean- “Okay well good luck staying alive going on hunts like this alone.”

Sam- “Look we just thought since there were more then one you would have needed help but clearly you didn’t”

Dean- “Your a bad ass for a hunter but why didn’t you call for help?”

Reader- “I have no one else but myself been that way for years.”

Sam- “Would you like to come with us to grab food we could all get to know each other a little better? We didn’t quite start off on the right foot.”

Reader- “No thanks I have another hunt to get to.”

Sam- “Well we are just a call away if you ever need anything.”

Reader- “I can handle myself.”

Dean- “Obviously.”

Reader- “Look I don’t need you and your ass of a brother fighting my battles.”

Sam- “Okay.”

Reader- “Good. Bye boys!”

You walk away and Dean looked at Sam with curious eyes.

Dean- “I think we need to follow her.”

Sam- “Not follow but stay close by.”

Dean- “I just said that.”

Sam- “No you said to follow her.”

Dean- “Same thing.”

Sam- “Okay.”

You find the pack’s hideout and take a closer look. Before walking up you cut your arm and let the blood drop on your head making it look like you've been in a wreck. You knock on he door and one of the men open the door.

Reader- “Help, I crashed my car a couple miles back and this was the first house I seen. may I use your phone mines dead.”

Sam and Dean pull up close enough to see what was going on and made their move towards you.

Man- “Yeah sure here come inside and let me fix your arm up.”

Reader- “Thanks.”

Dean- “What is she thinking going into a trap like that?”

Sam- “She obviously doesn’t care Dean.”

Dean- “I’m going in.”

Sam- “Yeah ok.”

Reader- “Thank you so much. So do you boys live here alone?”

Man- “Jack, grab that bottle for me would yeah?”

Jack- “Yes sir.”

man- “Yeah, it’s just us four here as of right now.”

Reader- “Oh. Well if you don’t mind may I use your bathroom?”

Man- “On the left two doors down.”

Making your way pass the rooms you see the other three standing at the end of the hall blocking the bathroom door.

Reader- “Boys if you don’t mind may I get pass you? I can’t hold it all night yanno.”

Jack- “Yeah let’s get out of the hunters way.”

You realize you’ve been made and had to act quickly. You pull the knife out from you boot and cut Jack and he yells but he did not burn like a monster would which let Sam and Dean know you’ve been made. The boys bust through the front door and join in on the fight. You stab two of the pack members and push Jack into the bathroom knocking him into the bathtub.

Jack- “Woah! Lady calm down I'm not one of them!”

Reader- “Then what the hell are you or who are you?!”

Jack- “They’re my family but I am not a werewolf like them.”

Reader- “Why did you call me out like that?”

Jack- “You murdered my uncle and brothers in the alley that night.”

Reader- “You are not like them why watch them kill people knowing that they could do things different?”

Jack- “Because, they’re all I have.”

Dean- “Bad-ass, you okay?”

Reader- “GO! Go out the window and don’t ever let me see you or hear of you again. Live a normal life get out of this. If I do you’re dead.”

Jack- “Thank you.”

Jack leaps out the window and you follow behind making it seem like you were getting away. Sam and Dean kick the door down and see you walk around the building.

Dean- “Hey!”

Dean runs to the front door and out onto the wooden damaged porch where he finds you standing at the end of the steps smiling.

Dean- “What’s with the smile?”

Reader- “You just can’t stay away can you boys?”

Sam- “We’ve been on this hunt just as long as you have we were here to finish the job.”

Reader- “I doubt that.”

Sam- “What happened?”

Dean- “You trying to do this alone is stupid. Why can't you just work with other people and get things done quicker?”

Reader- “They killed my son, you son of a bitch. So, before jumping to the accusation that I don’t want help doing this job then you have another thing coming.”

Sam- “I’m sorry.”

Reader- “Yeah to late for sorry don’t you think? He was 3 years old and didn’t get to even be a kid. I stopped hunting because of him then one day I came home to the baby sitter’s with her throat slit head almost clean off and my son in his crib torn to pieces. So, tell me boys why wouldn’t I do this alone?”

Dean- “We’r..”

Reader- “Save it.”

Sam- “Can we just talk this over? May be can be there for each other? This is my brother Dean and I’m Sam. We’re the Winchesters.”

Reader- “Seriously? Wow so you are the two idiots who started the apocalypse letting Lucifer out of the cage and ended it just to let the darkness out and take care of poor Dean over here who had the Mark of Cain? You to are the reason for everything.”

Sam- “We didn’t know all of this would happen.”

Reader- “No? Because when it comes down to saving each other you would do anything.”

Dean- “Well if there is anything we can do let us be there for you. We’re hunters and we all help each other when the other needs help.”

Reader- “Yeah I’ll do that.”

Sam- “Here’s my number just give us a call if you do.”

One Year later

The boy’s have not seen you in a year and they had only hoped for the best that you were doing alright till one day in a small little town they stopped by a dinner before a hunt. They hear a commotion coming from the bar. You had taken a guys head and slammed it down onto the counter.

Reader- “Look here you sorry son of a bitch, you don’t come up in a family dinner and put your hands on a women without her invitation. Now I suggest you apologize to her and make your marry way down the highway before you get into some real shit you wont come out of.”

Man- “Yes ma’am!”

The man apologized and left without a second thought.

Reader- “You okay hun?”

Women- “Yeah, thanks.”

Reader- “No problem.” You turn to the dinner and tell the lady you are paying for her meal and head out the door. The boys follow you to your car.

Dean- “ Well well well if it isn’t little ol’ badass.”

You turn around and see Sam and Dean smiling at you.

Reader- “Great just the two I wanted to see. Not. What trouble are you bringing to town now?”

Sam- “No trouble just a hunt.”

Reader- “The same hunt I’m on I'm assuming. This doesn’t change things between us boys.”

Dean- “So? We hunting together or what?”

Reader- “Your such a smart ass Dean Winchester, but yes. We can work the case together.”

Sam- “Great!”

Reader- “Don’t get use to it.”

You laugh and take a seat in the Impala and hit the road with the boys.

Reader- “I am so going to regret this.”

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lexicalberries · 5 years ago

Conversation

fic: it was the ultrasound of the heartbeat of the baby inside her.

me: no

me: friend, no

me: that is not what an ultrasound is

me: at all

me: i can't

me: what

me: why would you think

me: help me

fic: I could not have the baby in Durant, being unwed, and with the rumors that would surely swirl after everyone thinks you and I are an item between the sheets.

me: dear god

me: UNWED

me: save me

me: who is this person?? this is not vic.

fic: I'm afraid with all the stress I would miscarry, and after seeing the ultrasound of baby's heart, I couldn't bear that.

me: still not what an ultrasound is!

fic: Henry replied, finally looking over at his friend, "Yes, Walt, you ran her off. I have been telling you for, what? Forever? Vic not only respected you as a Sheriff, but adored you for the man you are-or were.

me: no one likes to characterise henry as their #1 shipper more than me but wtf is this?

me: i am so fascinated by the trainwreck happening before me.

fic: Cady, I would like you to find me a therapist, so I can start sorting my mind out. But for the time being, I don't want to hear her name again, if I can help it."

me: things walt definitely would say after calling a meeting with both cady and henry which is also something he'd do

fic: She had slept with Eamonn in large part because Walt was seeing Lizzie.

me: OH FOR FUCK'S SAKE

fic: She had made that damn-fool pact with Travis to fuck him that one time.

me: you think they made A PACT to have sex.

me: despite the fact that the flashbacks clearly show them both being very very drunk and it being a completely spontaneous happening.

me: but, no. A SEX PACT.

fic: At one time she knew Walt Longmire had strong feelings for her, that they were a good Law Enforcement team

me: what is with the random capitals are you german??

me: okay if you're german i apologise

me: but i would bet good cashy money you are not german and therefore have no excuse gdi

fic: somewhere that she could live comfortably until the baby was born, which would be in about six months"

me: it's clear your grasp of canon is extremely loose but come on. you think she's three months pregnant? for real?

me: OH OH THERE'S AN OC HOW EXCITING

fic: That Tuesday, he went unannounced to the Mayor's office, and handed in a letter requesting an extended medical leave while trying to straighten his mind and soul out.

me: i just... have no idea how to respond

fic: Yet deep inside, Walt felt that his Sherffing days were over.

me: HIS SHERFFING DAYS

me: that is fabulous

fic: The next call the Mayor made was to Tucker Baggett, who was prosecuting the case against Walt on behalf of Barlow Connolly's Estate. Upon hearing the news, Baggett agreed, at least for now, to postpone the case.

me: YES THAT IS HOW THE LAW WORKS DEFINITELY

me: oh, but also

fic: Even he wasn't inhuman enough to keep the pursuit of a man who had stepped down from his position and had agreed to get psychological counseling.

me: words

me: i have none

fic: Way back in the furthest reaches of her subconscious, there was a small, single spot there that still loved Walt. It was nowhere near the surface of her thoughts, but it existed, not knowing if it would ever be allowed to germinate again.

me: sentient brain spot got it

me: vic's applying to law school???????????

fic: She was confident that with her background in Law Enforcement, she would be a no-brainer for admission.

me: yeah, she totally doesn't need to take the LSAT or anything

fic: A nurse came through the double doors that lead to the ER, and looked around, "Anyone hear with Ms. Moretti?"

fic: Lisa got up, "Yes, I brought Vic here. She really doesn't have any family here, we share a condo together. I know you can't divulge what's going on, but may I visit her?"

me: AHAHAHAHAHAHAHAHA

me: normal human conversation: a guide

me: aaaaaand now it's a year later and

fic: Travis had probably been the most devastated of anyone. Vic was pregnant when she had suddenly left, and she was certain it was Travis' child. He had been so sweet to her even as he drove her nuts.

me: who needs steady POV narration anyway?

fic: When she had left without warning, Travis, like Walt, had emotionally fallen apart. He had started to drink heavily, and was having trouble keeping a job.

me: okay but you literally tell us two paragraphs later that he's in therapy and "working steady now."

me: FUCKING PICK ONE

me: oh and walt can't hear or speak vic's name so that's a thing

me: and now, a reunion. of sorts.

fic: "Cady?" There was silence for a moment.

fic: "Vic?" Another agonizing pause, a year's worth of anger and hurt hanging between them.

fic: "Cady!" and Vic started to cry, with regret and with hurt. "Cady, it's so good to hear your voice!"

fic: Cady couldn't help but cry herself. "God, Vic, it's good to hear yours! I've missed you so much." The tears came harder for both of them.

me: i had no idea their bond of sisterhood was so strong!

fic: They shared a mutual laugh, which felt good to both of them.

me: i, too, am laughing. in horror. at how bad this is.

fic: "I know, Cady", she said softly, "It's been so good to hear your voice. Love you, my friend, hope we talk soon."

fic: "Love you too, Vic", and the line went dead.

fic: Vic cried for three hours, until she fell asleep.

me: okay this is labelled a walt/vic story but i'm starting to wonder...

fic: In the middle of this noisy Saturday night in the Tavern, all anyone at that table heard was silence, which in and of itself was worth a million words. Among those words were shock, surprise, hurt, anger and a whole range in between.

me: i am laughing so hard

fic: Travis finally calmed down, and his face brightened thinking about Vic with memories of that one night they spent together. He then looked around his table, and raised his bottle of beer, 'To Vic may she live a life full of peace, happiness and love."

me: WHO ARE THESE PEOPLE

fic: yet when he found out from Cady that she was pregnant

me: jfc you can't even remember your own story! it was in the fucking letter vic wrote to him! THAT YOU WROTE.

fic: She was pretty much acing all her classes at this point, yet she knew this was the easy part. She had a good foundation of the law in being a cop and a deputy, and she knew she could transition to the courtroom side of the equation.

me: tears. tears in my eyes.

TBC

0 notes

untapdtreasure · 7 years ago

Text

Tagged by @entireoranges (Sorry that this took me so long!)

Name: Larissa Star sign: Aquarius Average hours of sleep: Six. Sometimes less. Sometimes more. It depends on the time of the year and what I'm going to be doing the next day. Lucky number: 7 Last thing I Googled: candy canes (for a Barson edit) Favorite fictional character: Det./Lt. Alexandra Eames When did you start this blog? May 30, 2011 (x <-- my first post) Amount of followers: 540 What do I post: Whatever strikes my fancy. I track several/lots of tags, and I usually blog from those, but I also blog from the dashboard as well. So it's just a variety of things/stuff. Otps: Goren & Eames, Benson & Barba, Carol & Daryl, Mulder & Scully, Walt & Vic, Marcus & Abby, Han & Leia, Natasha & Bruce, Devon & Danziger, etc. Do I have more blogs? I do. Several roleplay blogs. A very personal blog that only a select few are privy to. And some fandom/ship blogs that I love running on a daily basis. If you'd like a list, please let me know. Do I get a lot of asks? Nope. Why did I pick this url? It's the penname that I've used at fanfiction dot net for a long time (the first penname being SassySaraSidle because of my love of CSI) so I use it everywhere so that people can follow me from place to place.

tagging: @hometown-unicorn @barsonaddict @storyinmyeyes and anyone else that wants to do it.

#& moi #entireoranges

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wildlyhardphilosopher-blog · 5 years ago

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wisdomfromamadman · 8 years ago

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Villainy and the construction of fear in selected animated films-A 2010 Thesis Essay

SPOILERS WARNINGS

Note: This is my thesis essay from my final year (2010) of University and I wanted to share it (really enjoyed writing it, and I’m proud of it). I got a ‘C’ but I always get ‘C’s. We were able to make our own topics, as well as choose our own case studies and mine was:

Villainy and the construction of fear in selected animated films.

Carface (All Dogs Go to Heaven, 1989)

Dr. Facilier (The Princess and the Frog, 2009)

Doris and Bowler Hat Guy (Meet the Robinsons, 2007)

Prof. Screweyes (We’re Back! A Dinosaur’s Story, 1993)

Animated villains have the ability to provoke fear from children as well as in some adults. This essay will explore how villains are constructed to evoke fear by exploring the physical appearance of the villains, the mise-en-scene and the way the villains act. The essay will also look at the psychology behind fear. The case studies are We’re Back! A Dinosaur’s Story (Universal Pictures, 1993); All Dogs Go to Heaven (Goldcrest Films International,1989); The Princess and the Frog (Walt Disney Animation Studios, 2009) and Meet the Robinsons (Walt Disney Animation Studios, 2007) because they have certain villains that will help explain the way fear is provoked in this discussion. The essay will also look at the different styles of animation between Disney and non Disney films such as Universal Pictures and Goldcrest Films International and how these styles help create their villains.

The reasons behind doing this topic are that villains are entertaining and they are still needed in films (Jensen, 2009). They are needed because villains are able to capture the imagination in that “villains started stealing the show” (Jensen, 2009, 2) because villains show that it is more fun to go to the “dark side” (Jensen, 2009, 2). Villains can do what they want to do. This also adds to the ‘rumour’ that many actors express their want to play the villain since there is more freedom in doing what you want to do. Villains are, therefore, free from social construct. Some people do wish to explore the ‘badness’ that exists in human nature. They also want to see that they are not alone with this feeling of ‘badness’ and villains do this for them. They are needed to make the hero look like a hero and to make a story of difficulties for the hero to over come because villains want to control the world and make life miserable (Raffaelli, 1997). Therefore it is up to the heroes to stop this from happening. Without villains there would be no story. Fear is an interesting concept in that there are many forms of it which people experience. People enjoy being frightened and villains will not go away because they are able to create fear and make a story.

The essay will first discuss the notions of fear. Hyman (2001, ix) argues that emotions are “subjective feelings” which come about according to certain situations so that people/ animals can react accordingly and that “the brain and body are dedicated to fast and effective defence to increase the chances of survival” (743) therefore people will hide or freeze when they are afraid. Fear is a negative emotion which comes about from wanting to protect ones self and to avoid danger. Emotions are able to influence behaviour and this is why some people hide while they are watching something that scares them in order to try and subconsciously protect themselves. Fear comes about from a “lack of control over events” (x) hence the desire to avoid these events. As well as from “unreality or detachment” (x) hence why villains are often lacked to supernatural events such as voodoo magic, such as Dr Facilier (Keith David) is in The Princess and the Frog and this will be discussed later in the essay. People wish to “avoid any situation where easy or unobtrusive exit is difficult” (729) therefore villains are able to create fear in people because people do not want to stop watching the film because the films can make the mind obsessed with what one sees and this makes it “swayed by impulses and emotional currents which it would ordinarily be able to master” (Mayer, 1947, 155). This can hint at the idea that one is unable to turn away from the film. Their emotions overpower their desire to turn away from what they are watching because “the strangeness of the film medium” (Mayer, 1947, 155) also makes the mind not want to turn away. This is able to leave an impression on people which can last from childhood up until adulthood. Adults can also grow to hate the thing that they feared as children “we fear something before we hate it; a child who fears noises becomes a man who hates noise” (Connolly, cited in Moench, 1995). This can be a possibly type of evolution of fear.

Mayer (1947, 156) argues that people fear what is “outside the physical field” as in that which can not be explained and is out of people’s power to control. He uses the phrase to refer to that which is monstrous. This term means that which is no longer possible to have like dinosaurs, monsters, because they are extinct. Monsters also refer to creatures that can do great harm to people and are not cute or friendly looking. They can easily overpower the people and people fear losing control. The dinosaurs in We’re Back! A Dinosaur’s Story is an example of this because when Prof. Screweyes (Kenneth Mars) changes the dinosaurs back to their primal form and uses them as monsters in his circus. They are no longer cute because their colouring is dark, using shadows, and they are more realistic looking. The audience is reminded that dinosaurs can eat humans and that dinosaurs are more powerful than people are. This will go into much more detail further on in the essay. “Outside the physical field” also refers to the supernatural which refers to something that people do not have control over and that can, again, overpower them. People do not understand magic and supernatural gives the impression of a higher power. However, people also enjoy being frightened which can be seen when the, on-screen, audience go to Prof. Screweyes’s circus in We’re Back! A Dinosaur’s Story. The clown, Stubbs (Martin Short), says to the children that people like to be scared and this is true. That is why horror films are still being made. When one is watching a film, “ordinary common sense” “is overpowered by an irrational but uncontrollable impulse” (157-158). This means that even though people know that what they are watching is absurd and not real, they are still unable to add a lot of reasoning to what they see, they seem to take it is fact, such as they exercises their suspension of disbelief. It therefore still frightens them. Mayer (1947) talks about a case study where a girl saw a film with a monstrous figure in it. She began to believe that it was hiding in the shadows. She told herself that she was being ‘silly’ but it did not help her get over her fear. This is an example how film is able to overpower common sense and therefore irrational fear is formed.

Villains are interesting in that they are connected to evil, a concept which is not fully understood and refers to anti-social behaviour (Norden, 2000). People fear what they do not understand, such as monsters and the supernatural. Evil is often linked to non-human objects such as animals, aliens, magic (Norden, 2000) which villains are then portrayed as having traits of such as Doris (Ethan Sandler) in Meet the Robinsons who has traits of a spider when her legs come out from under her bowler hat body. Evil is linked to myths, which in turn are linked to the supernatural. “The concept of evil is a conspicuous part of world mythology and its overlapping functions” (Norden, 2000, 53).

A fear that villains also provoke in people is that they are “terribly and terrifyingly normal” (Norden, 2000, 52) and this is a fear in that the villainous traits that one sees in the films can exist in real life and that they do. This statement is a contradiction to the fear of “outside the physical field”. However, it is able to show that fear is a complex term that can have many different forms of it. People fear what they not control, supernatural and monstrous, and people can also fear what they could become or what could be real around them. Such as the idea behind the character of Carface (Vic Tayback) from All Dogs Go to Heaven because he gives the idea of being a part of a mob, which happens in real life and his anger is that of a normal human emotion that everyone does feel. He reminds people that characters like him do exist and this is a frightening concept. As well as the idea that people can see themselves in him when he loses his temper.

These villains provoke fear and children wish to hide the fact that they are frightened. There was a case study that USA Today (1999) talks about where children’s physical features tell that they are afraid of what they see but they deny when they are asked if they are afraid. These children display that of being “repressive coppers” (8) in that they are not aware of what they feel, afraid, or that they deny what they feel to others. This can link to the idea of freezing (Hyman, 2000) that when one is frightened in that they do not move. Since children, the target market, watch these films they create a fear that comes from villains which and continue into adulthood. Therefore animated villains are able to provoke fear in some adults and the concept behind fear does not last for one viewing of a film but long after the viewing is finished. Since “repressive coppers” do not talk about their fears it may take longer for them to get over the item that frightened them.

Heroes are also beginning to have traits that use to belong to villains to keep the heroes more interesting such as Charlie (Burt Reynolds) from All Dogs go to Heaven, who has traits of Carface in that he kidnaps Anne-Marie (Judith Barsi), who can speak to animals, in order to win money in gambling like Carface does. This means that the traits of villains influence the make up of the hero and adds more complexity to the heroic characters. This makes the hero more relatable to the audience since people do have villainous traits and good traits in them. This is way villains are still needed in films.

The Classical Disney style is known for its aesthetic of keeping it cute (Wasko, 2001). This is done with the idea that the heroic characters are good looking and uses bright colours such as yellows and reds. However the villains differ from that of the hero, in that the villain is created to look feminine, if they are males (Li-Vollmer and La Pointe, 2003), which can show them as being that of the ‘other’ as Norden talks about in his article. The ‘other’, as Norden writes about, refers to the link to the ancient ideas of people who are diseased and disabled as, therefore, being sinful. As if they do not belong to the dominate group of people. The villains are not a part of this group therefore they are seen as the other. This can link to villains in that, although they are not diseased or disabled, but they can give the impression of being so such as in the physical appearance of being too skinny or too fat (Bell, 1995) and these makes the villains’ bodies have an unnaturally look about them. The villains are drawn with sharp lines and this makes their features more pronounced and this is unnatural in that it goes against the look of the hero who is well built and more appealing to look at. The way that villains speak can show off their intelligence which can add to the idea of fear in that they are cunning and can, possibly, out smart the hero who the audience is identifying with. This is shown in The Princess and the Frog where Dr Facilier makes a plan to get money and uses manipulation to do so. He is also drawn as that of a skeleton in that his features are pronounced and gives the idea of a stick insect in that he is very skinny which can link to the idea of disease and therefore sinfulness. He appears out of the shadows at unexpected times and this adds to the fear of the supernatural as well as the unexpected. This can help contrast the villain and the hero and how this style drawing adds to the uncomfortable/fear behind the villain in that they look different to that of the hero and this can go into the subconscious of the audience members where fear can be provoked and, above the film medium, they have less control over why audience would be frightened. Therefore when Disney does not keep it cute, it is making a villain. The villains in the case studies are surrounded by darker colours such as blues, black, greys and shadows. The mise-in-scene is that of being in a dirty place that is away from the dominate world.

Universal Pictures (We’re Back! A Dinosaur’s Story) uses darker tints of colours thought out their film. The company use shadows more often. However, when the villain, Prof. Screweyes, is on screen the mise-en-scene is darker/ more shadows compared to the rest of the film. He is very skinny and has a screw for an eye which can makes him a part of the ‘other’ in that he is different. However, his body seems to be the same as his brother’s, Captain Neweyes’ (Walter Cronkite), body. Prof. Screweyes is a bit skinner and has bad posture. Universal Pictures seem to look at taking certain aspects of the body, such as the eye and posture, and making them more unnatural than the whole body as Disney does. They also make the eyes smaller while Disney makes big eyed characters to highlight their style of being cute.

Goldcrest Films International (All Dogs Go to Heaven) also uses darker tints of colours thought out the films as well as the use of shadows more often. Their still is also less cute than that of the Classical Disney style. The style of the film is that of the characters also having small eyes and features that make them look more realistic such as the proportions of the dogs in that Charlie is a skinny, German Shepherd, who looks like a German Shepherd and his best friend Itchy (Dom DeLuise) who has short legs since he it a Dachshund who are known for having short legs. Carface is a bull dog and therefore he looks fat. Each dog was drawn as the different type of dogs that they are and not as a generalisation.

The darker colours add more of darkness to the villains, both physically and mentally. Dark colours are often linked to that of evil. For example Prof. Screweyes is surrounded by shadows. He lives in the dark end of the forest where his circus is. The same is seen with Carface in that his area is dirty. This style makes the films darker and plays on the idea that children are afraid of the dark.

The acting behind the animation, in order to get the full effect of the voice, will help with the animating of the character such as their gestures and posture “most challenging aspect is getting a real, believable performance” (Scapperotti, 1996, 2). As well as the voice of the character, how it can sound charming as well as sound evil such as that of Dr. Facilier from The Princess and the Frog who gives off the impression of being a man who is only there to entertain, and not steal people’s money. His charm is what makes people want to see what he is all about. He is therefore able to make Prince Naveen (Bruno Campos) and his assistant, Lawrence (Peter Bartlett), follow him into his place of voodoo magic and turns him into a frog while he turns Lawrence into Prince Naveen in the hope of getting a lot of money out of them. Dr. Facilier also gives off his evilness in his voice when he approaches Lawrence, who acts as Prince Naveen, out of the shadows. This voice is able to give a sense of fear since the audience knows, and get confirmation, that his intensions are evil. It is lower than the other characters’ voices.

This essay will only look at the certain scenes with the villains in the case studies, not the films as a whole. The first villain to be discussed is Prof. Screweyes from We’re Back! A Dinosaur’s Story by Universal Pictures. He is introduced to the audience before they meet him by his good, brother Captain Neweyes. When the dinosaurs are taken up to Captain Neweyes floating ship, after they were given “brain gain” to make them smart, less primitive and therefore cuter looking, less realistic. This is where Captain Neweyes talks to them about why he wants them to go to the Middle future, which is 1993 (Horwitz, 1993), to make dreams come true and children dream of dinosaurs, because they do not know how dangerous they are. It is where he warns the dinosaurs about his evil brother, Prof. Screweyes who lost his eye and therefore went mad. He became a ‘freak’ and this is reasoning behind him becoming a villain. The introduction was done with an insert of Prof. Screweyes where the mise-en-scene were crows flying away from him and his body movements being too big to fit into the insert. He also looked distorted in that when he leans down his head becomes bigger and he has a mad look on his face. Prof. Screweyes gave an eerie, evil laugh. This adds to the fear of him in that it gives the idea that he is every powerful and someone who can do great harm.

Through out the film there are posters of Prof. Screweyes and his Eccentric Circus which are coloured as dark and green and gives off the idea of being a gothic circus. This makes the audience aware of his presence and sets up who he is. As well as the fact that Rex (John Goodman) calls him is the “bad guy” which reinforces his villainy. He is the ring master of the circus and he wants to make peoples fears come true. His mise-en-scene is that of darkness such as the area of his circus is through a dark, scary forest with lots of shadows and crows. His circus is in the corner of Central Park which is covered in shadows (Horwitz: 1993). This gives the idea that the audience do not know what to expect from him and he, therefore, becomes out of the audience’s control.

He is able to do the supernatural which is to hypnotise people with his screw eye as he does to Rex when he wants to show him off as the monster he is in his circus. He than calls himself the master of fear and fear is a difficult emotion to be the master of. This adds to the fear of the villains being able to out power the people. He also has crow that have, eerie, green eyes which is unnatural for crows to have. At the end, after he is defeated, of the film the crows are able to wrap around Prof. Screweyes, whom he does not like and this can be seen when he was walking away from Louie (Joey Shea) and Cecilia (Yeardley Smith) and the crows fly past him and he is about to remakes his jacket. He has an expression of dislike towards the crows, and when they fly off he is gone. A crow was the one that turn on the light that flare and these pull Rex out of Prof. Screweyes’ trace and Rex was about to eat him until Louie is able to get Rex to turn back to the cute, friendly, dinosaur by asking him not to be the monster. This also adds to the theme of supernatural.

The scene that seems to be one of the most frighten scenes is when he makes Louie and Cecilia sign a contract so that they can join his circus. He makes them sign with their blood by pricking Louie’s finger. This is done in a dark scene where it is surrounded by shadows. Cecilia says that she is scared and Prof. Screweyes says “good” as if he feeds off fear. The words only come after Louie places his bloody finger on the contract. This scene can link that of signing of a soul a way.

His acting is that of an intelligent man who can slyly, with class, talk people into things as he does to Louie to sign the blank contract because he likes to “keep things simple”. He likes to create fear and he does not laugh, Stubbs tried to make him laugh but he will not. He also got angry at the children, Louie and Cecilia, for laughing at Stubbs. He does not seem to understanding laughing. This is not normal in that most people do laugh and this shows that he is an unhappy, unusually man. He is the opposite of his good brother in that he has “brain drain” which is what he uses to turn the dinosaurs back to being, primal, monsters like he wants them to be for his circus since most people are afraid of monsters. He believes in making fears come true and he enjoys doing it. He gives the impression of being different in that he is mad. His motivation is to scary people because he likes fear and that he is an ‘other’.

He has a fear of being alone which he says to his brother when they leave him before the crows surround him. This makes the audience pity him because he gets afraid when he has no one to frighten. However, it also can add to the audience’s fear of him in that it shows him as being a normal person, because everyone becomes afraid and some wish to hide it, but who did great harm to the heroes of the story. He hides from his fear by frightening others and this part show that he has a fear of the crows since his last words are “the crows could” and the crows begin to surround him. This makes him a complex villain in that it is unusually for villains to be afraid of anything. This also makes the crows a higher power which he has no control over.

Prof. Screweyes looks more at the supernatural compared to Carface from All Dogs Go to Heaven by Goldcrest Films International who will be discussed next. Carface looks more at the fear of normality that even though he is a bull dog, his characteristics are that of a person who is evil. This adds to the fear because what he does can be done by people and this is a frighten concept. The type of people he portrays exists and the audience is reminded about that. They also are able to see their bad traits in him, which they will enjoy watching but are reminded that these are traits that need to be control since they are against social construct such as losing your temper and being abusive. He has a deep husky voice, which is not very pleasant to listen too and he smokes cigars which is uncommon in animated films. His mise- en-scene is that of having a lot of smoke around him which gives a reminder of the stereotypical idea of hell. There is a transgression of when he is looking directly at the audience, in a mid close up, where he starts to laugh and the shot transgressions to make him look like a devil, by the horns and the colour red that is introduced into the shot. He is short tempered which is a human trait that a few people have that is often linked to that of abuse and because of his short temper he is able to scare Anne-Marie. Carface gives off the idea of being very ‘mob’ like in the way he speaks and that he owns a casino. He also wants to have his partner, Charlie, killed.

It is here where the audience discover that Carface and Charlie have a history together in that they co-own a casino and Carface wants Charlie not to be a part of the partnership any more so that he can keep all the money. It was Carface’s idea to get Charlie in to the pound. When Charlie and Itchy re-enter the casino the guest tell Charlie that “things haven’t gone well and Carface isn’t treating them fairly” (Cawley, 1991, 2). This links to the idea that Carface is a mean dog and that when he took over the business began doing badly because he disrupted the natural order of things because Charlie was met to be there. He gets Charlie killed by sending his sidekick, Killer (Charles Nelson Reilly), to the edge of the pier with Charlie blindfolded and drunk. Killer unmasks Charlie and goes up the pier to meet Carface who is standing next to a car. Carface lets the break go and the car pushes Charlie into the ocean where he drowns and dies. This is murder which is a fearful concept in that people have a fear of death and that someone, like Carface, has the power to take their life away. This is a human trait which the audience members are reminded about.

There is a scene in the film where Carface is shooting at Charlie, Anne-Marie and Itchy during the day when they are at a market place on the street. In this scene Carface is dressed as a member of the army and this adds to the impression that he is a dog that is dictating and using power in a bad way. He does this when he kidnapped Anne-Marie, who can talk to animals, and keeps her locked up without sending her outside even though he promises. He also tries to kill Charlie again. The scene has a darken tint to it when Carface is on screen. He gets Killer to shot the ray gun and he hit Charlie but does not kill him. They escape and Carface hits Killer for not doing the job properly. This shows his abused side and when he hits Killer the gun goes off and Carface says that he is surrounded by morons, which is a line he often repeats. This shows that although he is physically abused, he is also emotional and mentally abusive which can be seen in his relationship with Anne-Marie.

Carface physical appearance is that of a wide but short, fat bull dog which is not distorted or unnatural. This makes his character traits stand out more since there is no distraction from what he does. His body is in proportion but the fat could make him apart of the ‘other’ since all the other dog characters are skinny, like Charlie, or small, like Itchy. The motivation for Carface to do what he does is to get more money.

The first of the Disney films villains to be discussed is Dr. Facilier, also as known as the Shadow Man, from The Princess and the Frog. He is called the Shadow Man because he is known for his use of voodoo magic which falls under that of the supernatural and he can use shadows as his minions which he does. He is a charming man as well as manipulative. He is first seen in the opening song of the film where he is introduced by a board that says voodoo magic on it and the camera pans up to relieve him. He blows purple smoke from a card on to a bold man and this gives the man hair. However the hair grows too much and fast and makes him looks that of a werewolf. Dr. Facilier is seen laughing by the wall on the side while this happens. This indicated that he uses voodoo magic for evil and to get money. This is where he sees Big Daddy (John Goodman) give a huge amount to a boy who sells newspaper and his Shadow, the sidekick, comes alive indicate that the money that he received from the bold man was too little and that he should go after Big Daddy or a lot more money. This is the start of the story and it shows the Shadow as being the subconscious desires of Dr. Facilier.

When he meets Prince Naveen, his shadow goes over the Prince and Lawrence who are on the floor after they fall from helping to get Lawrence out of the tuba. The camera pans up to show that Dr. Facilier is a skinny, well dressed man. He gives his card to Prince Naveen and begins to pull him, while looking around suspiciously, away. They go down a dark alleyway toward his place. This scene shows that he is a manipulative man in that while Prince Naveen was reading his card he was leading him to where he wants to be. He will do any thing to get what he wants. His area is behind a grey, strange, old looking tree which indicated that his intentions are not good since the tree is ‘ugly’, it is not looked after. The mise-en-scene of his song, “I got friends on the other side”, which is on the side of death, is that of reds and oranges. When the masks come alive, after he shakes hands with Prince Naveen and Lawrence, the scenes than have blues, purples and greens. He than slides down a half, mask, skull which makes him look monstrous. The mise-en-scene here is also that of colourful patterns using bright colours. This is the opposite of the clichéd villain look in that they usually have dark colours. This was done to make the audience feel uneasy in that they fear what will happen to the hero, Prince Naveen, who is trapped there. The scene shows the type of person Dr. Facilier is in that he does what the literal says will happen such as when he tell Prince Naveen that it is “the green I see” and he than turns Prince Naveen into a green frog.

Dr. Facilier shows that he will do anything to get as much money as possible by holding a needle to a doll that looks like Big Daddy in order to kill him. This means that Dr. Facilier is intelligent because he will get more money from the inheritance and it shows off a human trait of greed which links to the fear of normality. This shows that he achieves both forms of fear. In that he uses magic, the supernatural, and has normal traits that are villainous. He also goes into the monstrous with his half skull mask and the low angle and the end of his song. This makes him look bigger and distorted. He is a strong villain in that he has thought everything through expect how to avoid his defeat.

Dr. Facilier asks for help from a higher power, which are his friends on the other side, in order to find Prince Naveen. This is him going to a power that is beyond his own and it is scary in that he has no control over it which he thinks he will not fail them but he does. This is the beginning of his downfall. The masks/ sprits can easily overpower him and do as is seen in the last scene with him in a graveyard. After Tiana (Anika Rose) breaks the amulet and the sprits, which are that of bright colours, come out from tombstones. The colours are that of purples and greens. There is a drum motif in the sound track which adds to the eeriness of the scene where the sprits/ masks take his Shadow and in turn pull him towards a tombstone that becomes his. This is scary in that the music overpowers the scene and him. He has lost his power and control to that which is more powerful than him. This adds to the fear of the supernatural in that the audience is reminded that there is something that is more powerful than the villain. Since they are unable to control their fear of the villain, they will not be able to control that which is more powerful than the villain. That there is something worst, more powerful and more dangerous, than the villain.

While Dr. Facilier is a competent villain, Bowler Hat Guy (Stephan Anderson) is not. He is more of the funny sidekick but he gives the idea at the beginning of the film as being the one in control when it is Doris who is the mastermind. They are both introduced by eerie music to show evil intentions. Doris idea is to rule the world which she is able to do with Lewis (Daniel Hansen and Jordan Fry) not wanting to invent anything. Bowler Hat Guy’s major plan was to ‘toilet paper’ and ‘egg’ Lewis’s house. This is why he is incompetent in that his plan will do no harm. Doris’s on the other hand does great harm to all the people that live in the future. She does not tell Bowler Hat Guy, who was Goob in the past, her plan. Since he is a good guy who will disagree which he does when her plan comes to life and he says he did not want this to happen.

The scene that shows this is when Lewis goes to the future and Doris has taken over. She is able to control the characters and Bowler Hat Guy is not happy about that. She has a link to a Cyclops, which is linked to myths as Norden spoke about, with her one eye in the centre of her and it goes red when she orders her controlled minions to go after Lewis and when ever she is angry. The mise-en-scene is that of greys and it is dark. When Lewis is able to escape her minions the setting is that of a run down city that is covered in dust which can indicate that of pollution and decay. She is chasing him as a giant bowler hat which is linked to that of being a monster. This city has her design every where and shows the idea of a dictatorship. This scene is frightful in that Lewis is in danger of a big, powerful monster with a Cyclops eye and spider legs. She is a man made objects which adds to the fear that the audience are able to create something like her which turned out to be monstrous and become that of outside the physical field, even though. Originally, she was inside the field in the logic of the film.

She does all of this because she is evil. She was an invention of the future Lewis who did more harm than good. She was meant to be shut down but was able to reboot herself. She wants revenge on Lewis for locking her away. She uses Bowler Hat Guy, who was Goob in the past, to help her without telling him her whole plan. He is a good guy that was just angry at Lewis for keeping him awake.

Animated films are ability to provoke fear by using villains in that the films play on the subconscious of people. They look at what people are unable to control such as that of a higher power as seen in The Princess and the Frog with Dr. Facilier. These case studies show the different forms of fear, such as monstrous, which is seen in Doris; supernatural, which is seen in Dr. Facilier and Prof. Screweyes and normality, which is seen in Carface. These forms of fear often mix in one villain. The greatest fear that is provoked is that people can do what the villains are doing such as losing their tempers which falls under the fear of normality.

Bibliography

 Artz, L. 2004. The Righteousness of Self-Centred Royals: The World According to Disney Animation Critical Arts, v. 18 (1).

 All Dogs go to Heaven. Bluth, D and Goldman, G. 1989. Goldcrest Films International.

 All Dogs Go to Heaven. 1989. URL: http://www.imdb.com/title/tt0096787/ (Accessed on 25/04/2010)

 Bell, E. 1995. Somatexts at the Disney Shop: Constructing the pentimentos of women’s animated bodies. In From Mouse to Mermaid. The Politics of Film, Gender and Culture edited by Elizabeth Bell, Lynda Hass and Laura Sells. Bloomington: Indiana U.P.

 Cawley, J. 1991. All Dogs Go To Heaven. The Animated Films of Don Bluth. URL: http://www.cataroo.com/DBdogs.html (Accessed on 17/04/2010)

 Disney Villains. 2010. URL: http://www.disneyvillains.net/BowlerHatGuy (Accessed on 17/04/2010)

 Disney Villains. 2010. URL: http://www.disneyvillains.net/ (Accessed on 17/04/2010)

 Disney Villains. 2010. URL: http://www.disneyvillains.net/Shadow-Man (Accessed on 17/04/2010)

 Horwitz, J. 1993. We’re Back! A Dinosaur’s Story (G). The Washington Post. URL: http://www.washingtonpost.com/wp- srv/style/longterm/movies/videos/werebackadinosaursstory (Accessed no 17/04/2010)

 Hyman, S. 2001. Fear and Anxiety. The Science of Mental Health, 10. London/New York. Routledge.

 Jensen, J. 2009. Heroes and Villains. Entertainment Weekly, 10141.

 Kurtti, J. 2006. Disney Dossiers: Files of Characters From The Walt Disney Studios. New York: Disney Editions.

 Li-Vollmer, M and LaPointe, M. 2003. Gender Transgression and Villainy in Animated Film. Popular Communication, 1(2), 89-109.

 Mayer, J. P. 1947. Fear and Terror Inspired by Films. Sociology of Film. London. Faber and Faber Limited.

 Meet the Robinsons. Anderson, S. 2007.Walt Disney Animation Studios.

 Meet the Robinsons. 2007. URL:http://www.imdb.com/title/tt0396555 (Accessed on 25/04/2010)

 Moench, D. 1995. Batman Annual 19. New York: DC Comics

 Norden, M. F. 2000. Introduction: The Changing Face of Evil in Film and Television. Journal of Popular Film and Television, 28, 50-54.

 Physical Reactions Can Reveal Fear.1999. USA Today, 127, (2647).

 Raffaelli, L. 1997. Disney, Warner Bros. And Japanese Animation: Three World View. In A Reader in Animated Studies, edited by Jayne Pilling.London: John Libbey

 Scapperotti, D. 1996. Animated Villainy. Cinefantastique, 27, (10).

 The Princess and the Frog. Clements, R and Musker, J. 2009. Disney.

 The Princess and the Frog. 2009. URL:http://www.imdb.com/title/tt0780521

(Accessed on 25/04/2010)

 Wasko, J. 2001. Analyzing the World According to Disney. Understanding Disney. Polity Press. Cambridge.

 We’re Back! A Dinosaur’s Story. Nibbelink, P and Wells, S. 1993.Universal Pictures

 We’re Back! A Dinosaur’s Story. 1993. URL:http://www.imdb.com/title/tt0108526 (Accessed on 25/04/2010)

#wisdomfromamadman #wisdom #madness #thesis #2010 #animated films #university #college #all dogs go to heaven #princess and the frog #we're back: a dinosaur's story #meet the robinson #disney #long read #spoliers #free #villains #Villainy and the construction of fear in selected animated films.#throwback

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what-a-messsss · 4 years ago

Text

1x10 rewatch

Ok, let’s get back to Walt Longmire: Disaster Boi of S1 and finish this season off with a...something. Pleading look to the heavens, maybe?

How do I keep forgetting that Lizzie is a thing, even after our decision to find her some nice Smitten Cowboy to be with? Holy hell, but why are you still keeping your dead wife’s ashes in the kitchen? At least you kept Lucian in your fucking truck. In a coffee can. What is with you and breakfast beverages?? We all know you need lots of therapy, but this seems like a kind of niche issue.

“Trust me, you don’t, uh, you don’t want that tea.” Buddy.

Poor Lizzie. She really is so nice. And he’s such a fucking disaster. “You seem weird,” she says, in reaction to him going bug eyed from having to convince her not to drink his dead wife without her realizing that’s what he was doing. Sweetie, you have no idea. And she really does like him.

This is. So. Gloriously awkward. And Lizzie’s there in her bare feet. And all we need is for Branch to show up and we’ll have a full house, and aaaaahahaha, Walt is so trying to freeze time with the power of his brain. Staring off into the Not Here place with his mouth pressed just so... Awwwww, suffer.

I had forgotten that Ferg was the one who actually did the body work on the Bronco! Even did the paint work, because that old truck has never looked so good. I know Omar loaned Walt his truck while the Bronco was “in the shop,” but I like that the writers gave Ferg the skills to do that.

“If anybody... has something they want to say, I suggest you think twice about it.” We don’t need to say anything; we’re too busy laughing at you.

Oof, and then Lizzie hearing Martha’s voice still on the message greeting. She’s really quite a good actress. Lizzie isn’t a terribly subtle character generally, but she gives her these really fine microexpressions that give you occasional glimpses that there is more going on under the surface, and she’s not just an open book. : ( Making me actually like her and feel bad, not just cringe when she comes on. Dang iiiiiiiit.

Ok, that does NOT look like Sharpie. I’m sorry, but that looks like a paint pen or lipstick more than it looks like a Shapie on the dead kid’s forehead. Even if it were one of the jumbo Sharpies, they don’t write like that, they aren’t that colour on skin, and the thickness of the lines are all off. Which is not really relevant, but it buuuuugs meeeee. Pedantic little shit that I am.

Ope, Branch is basically past the angst about Walt not liking him and straight into just giving him nothing but attitude. Which, while I can hardly blame anyone for giving Walt shit, does get old pretty fast.

Walt, you are So Bad at talking to people, even when it’s for the damn job! Yeah, it’s fine to have Ferg fill Vic in, but at least acknowledge that she’s there, damn. Honestly it would have been good for both Vic and Ferg for Walt to tell her to follow Ferg’s lead on this one. He knows the case, the local history, the players, the situation, and probably more about archery than her, and she could stand to take the reminder that working 5 years in big city homicide still doesn’t make her the senior deputy and that she needs to be ok learning from even Ferg. Shit, I keep finding more and more reasons to be annoyed at Walt. Is he even really that good of a sheriff? I’m shaking the ol’ Magic 8 Ball here, and signs point to frickin’ NO. Ugh.

Five HUNDRED dollars says that he didn’t check with Mathias before going on the Rez for official police business again. Jackass.

Can’t really blame Viho for being super bitter. And Ayasha is so sweet. This whole family dynamic is so well done.

Aw, Ferg is so excited about the gum wrapper. “Still minty!” How are you such a sparklebunny? Bless.

Detective Falessssss. His opening line is so great, but uuuuuuuhg, he’s as bad as Walt with his singlemindedness about the case.

“Talk to Ruby. She runs my life.” She runs the department, bucko, and you’d be lost without her! Lost, I say! But you treat her like your personal social secretary, and that’s crap.

In Fales’ dubious defense, you were just super weird about that whole encounter.

Omar! You creepy little lecherous jackass. Why am I still fond of you? It’s really rather galling that I enjoy your character at all, but I doooo. Thank gods he has the beard now; cleanshaven was just wigging me out. “Vickie’s never shot before--” “That is the second-to-last time you will ever call me that.” And I chortle myself to distraction to the point that I have to rewind to catch the lines that I missed. With her horrible plans when she gets drunk (I’m still cringing at that flashback of her with Travis) and her obvious thing for older men, I’m honestly kind of surprised she didn’t end up having a deeply regretted something with Omar at some point. They do have good chemistry in an antagonistic way. And he does so enjoy tugging her pigtails. ...ew. Why is my brain like this?

“A little bit of practice, even a girl can make that shot.” Aaaaaaand we’re back to kick him in the nuts. Not that we ever really left there. Such a butthead.

Boy oh boy, it sure is great the tone that all these shitty rich white people take saying “Indian.”

“That is what a normal person would do in your situation.” Henryyyyyy, I love you so much. Why can’t we spend more time with him in the early seasons? Why are you drinking a Rainier? Nooooo, please have better taste in beer than your boyfriend! You have expensive tastes in bourbon, why can’t you have decent taste in beeeer?

Walt, what is the point of practicing darts when you are FIVE FEET from the board? Seriously, you’re supposed to be like... (a google later) 7 feet 9.25 inches away! That’s... That’s an oddly specific measurement. Wtf. No quickly apparent reason for that specific measure. Resisting the pull of this particular rabbit hole to continue the ep.

Aaaah, that’s right, this is still when Walt thinks that Henry may have killed the guy for him. And BestDad Henry talked to Cady after the blow up about Branch, and he is a wonderful human being. “It’s really none of your concern.” Hoooooow dare you. It is clearly a function of being bffs with that butthead that Henry just smiles (somewhat bitterly) at this instead of tripping him into the bar or shoving his head into the cigarette machine. (Is that a cigarette machine? Wtf is that thing with the yellow lit up portion towards the top? [14:05])

“What a rich inner life you must lead. From time to time, you should consider sharing some of it with the rest of us.” The sass! Swoon. Henry. Marry me.

“I’ve got other problems.” Buddy, you are other problems.

I wonder how many people/places Ruby just has on speed dial so that she can zoom through her list of “Where the hell is Walt now” to get in touch with him.

Aaaaand we’re back to Branch getting a bit big for his britches. Whee. Better fight about it like Big Boys. Ffs. “Go ahead. Give me your best shot.” ::Pat Benatar starts playing in the background:: Oh holy shit, I wish so damn much that I had any know-how about making vids. I would be beyond amused by a spoofy hate vid of Walt and Branch being assholes to “Hit Me With Your Best Shot.” Ooo, oo, or “Hit Me Baby One More Time!” Aaaahahaha, these fucking losers and their fragile masculinity. Get rekt.

Children. Childreeeeen. Stop it, or you can’t go to Timmy’s birthday party next week.

The irony of Vic being the one who is actually calling them on their shit and getting to do their damn jobs. Well shit, they actually have a warrant this time. Will wonders never cease.

Damn, Viho is smart. Politically savy, pointing out the election coming up. He’s got the wrong end of the stick this time, but the fact that he’s seen these angles and considered a bunch of things about the consequences already is telling about how smart he is.

Ruby is so pleased to see Henry. She sounds tired (dealing with Walt and Branch and the sheer volume of bs that is accumulating in that office, no wonder) but still fond. And the look she gives him. I love her so much. She puts up with so much. And I love Henry continually calling Walt and the department on their shit and just being a dedicated activist for his community.

Fuck right off, Branch. “Woah. I know you’re Walt’s friend, Henry, but you don’t have any particular rights here.” You are sliding into being a full on trashbag of a human being so fast, Brancheroo. Reminding a young man of his rights and helping him avoid getting railroaded by your biased ass isn’t a bad thing, you rusty wingnut.

Ok, it might not be Glasses!Henry, but cowboy boots!Henry with the glow of righteousness upon him is also quite A Look.

Aaaaahahaha, for once Vic’s unholy yelling saves the day. Being able to shout over a mass of raucous teens is usually reserved for teachers, camp counselors, and stage managers. Looool and using detention as the threat. And then jail. Heeeh.

This is soooo weeeeeird: I’m starting to genuinely like Lizzie. She just showed up and I remembered that it’s for dropping off that present, and then Vic is such a butt about it, and this poor lady is just trying to date a guy that she really likes and even gave him about 5 different outs that morning and he pointedly didn’t take any of them and dammit, Lizzie deserves better, too. Fuck, Walt, you are such a disaster zone. And Vic is a whole other disaster area that’s looking to, uhhhh, share a border. Yike.

The present is definitely more Lizzie than it is Walt, with the wrapping and everything, but it’s still a sweet impulse. AND THEN VIC, who told Walt how many times that he should call her?? gets all up in her business? Poor Lizzie trying to figure out what the fuck this has to do with Vic or how it is even on the same planet as any of her business. She does have some issues from her previous marriage, but she owns them. And her BS meter is actually pretty finely tuned. Sure picks up on Vic’s awkward boner for Walt in no time flat. Not that it’s particularly well hidden, damn.

This kid is a rapist and a murderer and The Bad Guy, but at the same time, he is a high school kid, chances are he’s a minor, and Walt is talking to him alone in his office without any parent, much less a lawyer. What the fuck.

“Because Ayasha Roundstone told me so,” is a good line, solidly so. And Walt’s all in The Righteous Hand of Justice mode or whatever, with the gravelly voice and standing over the kid, staring him down. Effective. (But where are that kid’s parents?) Ah, that’s right, his dad is taking a shot at whatshisnoodle to make it look like he’s the killer.

Awww, Cady. Honey, how long have you been waiting for you FailDad to show up? Fuck. Right. This was how she found out that Martha was murdered. He lies to her so much. He manipulates her so much. He passes all of this off on it being Martha’s wish, but he even acknowledges that Cady had a right to know and he chose not to tell her. He denies Cady her own agency again and again. He makes decisions for her without ever giving her a chance to choose for herself, and punishes her when she makes a choice that he doesn’t agree with.

It’s not “protecting” her from the pain. “Protecting you from the pain,” is not a father’s job; it’s to teach their child how to manage it, help them live through it, and how to grow past it. You’re damaging her. Into the suuuuuuun, Walt! Into the fucking SUN.

But fuuuuuuuuuuuck, her delivery of that same line, “Well, let me relieve you of that burden,” is sooo good. You done fucked up, buster. And you just keep fucking up. I would say in new and exciting ways, but it’s generally in the SAME DAMN WAYS, dammit Walt.

This flashback is really difficult.

They’re right about that technically being kidnapping, too. Wyoming § 6-2-201 specifically includes defining kidnapping as unlawfully confining another person, with the intent to “facilitate the commission of a felony; or Inflict bodily injury on or to terrorize the victim or another,” with unlawful confinement defined as “accomplished (i) By force, threat or deception; or (ii) Without the consent of a parent, guardian or other person responsible for the general supervision of an individual who is under the age of fourteen (14) or who is adjudicated incompetent.” Meaning that not only could Walt charge Jake with the kidnapping of Rich, but also probably of Ayasha, since she was ruled an unreliable witness and would more than likely be legally considered a “mentally incompetent person” according to the states’ legal definitions.

Not... that I have the Wyoming State Criminal Code downloaded on my computer. >_> Certainly haven’t skimmed about 80% of it trying to figure out what charges would most make sense to be levied against Jacob at the end so that I don’t have to deal with him going in to a Federal prison on RICO charges. <_< Or what Cady probably should have been charged with after that mess with Tate and Catori. Nnnnnnope. Sure don’t, didn’t, haven’t. o_o

This is about the only time I can remember there being a legitimate reason for Walt not to have backup. Since they’re off checking other locations. Also, damn, that was some classic Old West quickdraw shit, Walt! Noice!

“Why did you stop me?” Because you have to testify, you little shit. HE is not terribly bright.

Ooooooo, somehow I forgot that it was Branch who went to Jacob. But that makes total sense; I can’t really see Jacob seeking Branch out, but once he walks himself into his office, Jacob will certainly play those new cards for all they’re worth. Ooooooooo, and the Hotamétaneo’o headdress! I’d forgotten about Branch seeing it, too! Nice call back and foreshadowing to finish off S1!

“You will not find a chili cheeseburger of this caliber anywhere in Colorado.” And now it’s 4:30 in the morning and I want a chili cheeseburger. Thanks, babe. Some daaaaaay, I will figure out which is my favourite Henry, but it is not this day, because godsdaaaaamn, the red checked shirt with that vessssst, is *chef kiss* a wonderful thing. And the director knoooooows it = that pan down Henry’s back as he turns after saying, “I said nothing,” for noooo reason other than to have Henry’s ass on screen. Seriously. He says his line, it pans down, we get a primo shot of his jeans, and then it cuts away. Solely a pan for Henry Butt. Who directed this, and where do I send the fruit basket? Dang, it was Nelson McCormick, and this was the only ep of Longmire he directed. Huh. In S1, there’s only one repeat director, who did eps 1, 3, and 7. Interesting.

Focus, kid. You are less than 3 minutes from the end and you’ve had it paused for over 5 minutes to wander around IMDb. No wonder it takes you three flipping hours to watch one of these episodes. What a mess, indeed.

“We all process grief in our own way.” Buddy. You have not processed. You are a human <BUFFERING> screen. You’re a walking loading symbol. Walt, he gives you some basic vital statistics on the guy, but... You haven’t even asked who it was. Walt, you are so bad at this. Fffffffff--- And there’s season 1. lawd.

#Longmire #episode commentary #cady longmire #cassidy freeman #Walt #Henry Standing Bear #Branch is such a tool #Lizzie (Longmire)#How many tangents did I manage to go on this time?#Yikes

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