Setting: Black and white small town. The snow is heavy and cold. On a bridge, a George Bailey stands looking over the edge and thinking dark thoughts.

A voice speaks behind him.: I know what you're thinking, Mr. Bailey.

Startled, George Bailey turns around to see a man in a work-suit and wearing sunglasses.

George Bailey: Who... who are you?

Agent Smith: My friends may, sometimes, call me Htreet. But, you might feel better calling me Agent Smith.
Read more... )
Continued from http://wingedbeast.dreamwidth.org/5131.html

Setting: The large, industrial basement of some building. The room is packed with Zion revolutionaries, all in the customarily excessive leather and sunglasses.

Morpheus (perhaps looking out at the group, it's hard to tell with those sunglasses): I have to ask. Does anybody remember why we meet, like this, in the Matrix, itself? It begins to occur to me that hanging around the Matrix in loud leather outfits that mark us as abnormal is a bad idea.

Unnamed Zion Revolutionary: That's just because you have Wot on your team. We've all had those conversations with him, he messes with your mind.

Morpheus: That doesn't mean that he's entirely wrong. From a purely functional perspective, should we not be trying to blend in, wearing suits like themselves? Or at least dressing down?

Unnamed Zion Revolutionary: Listen, once he has you questioning whether or not terrorist tactics with unimaginable body-counts are a good way of freeing people from The Matrix, he can get you to question everything.
Read more... )
Establishing Shot: The tents of a semi-nomadic tribe of herdsmen as seen from very far away. Robed men with staffs tend to herds of goats. Too far to be recognized in specific at first.

Camera moves closer and also moves slowly from side to side. The sound of breathing up close. ((definitely not shaky cam!)) As the camera approaches the tribe, the goat herds move away from the tents. Women scream. Children cry.

Voice from just behind the camera gasps and breaks into a run.

Cut to inside the village.

Shenzi: Oh come on, now, really? For these stories, you should be used to talking animals by now! We're not even making a glance at your goats.

Banzai (quieter): Well, Ed's not exactly putting them at ease.

Camera moves to show Minotaur carrying Ed in the manner of an American Football. Ed glares at the goat-herders, snaps at them when they look in his direction. Beside him, Fenris sits... being Fenris.

Shenzi: And Fenris isn't exactly a calming presence.

Banzai looks around: Okay, okay, we're not here to talk to any of you. Here's our guy.

Camera turns to witness a largish man running towards the tribe, spear gripped to be ready for battle. He looks like he might be wearing a different kind of clothing from the rest of the tribe. But, the reality becomes apparent that he's wearing a loin cloth and is, otherwise, that hairy that you'd make the mistake.

Shenzi stands to all fours: Esau the man we want to see. We would have met you out in the wilderness but, well... you're a hunter and we're all various degrees of furred.
Read more... )
Setting: Down a road from the Multiverse Multiport... or up a road. North by south of the Mulitverse Multiport, and a little of an unspecified verticle direction stands The Total Theatre. The Total Theatre is large, boasting many movie theatres in which one can watch a variety of movies, particularly the movies referenced in fictions but that never make it into that semi-mythical land known as reality.

Camera pans slowly over various doors to theatres, signs displaying different movies.

From a theatre boasting a showing of Groundhog Day 12 stream five boys and a young girl, all minded by an older gentleman they, seemingly without disrespect, refer to as "Scary German Guy".

The next movie theater is about to show a film version of Bloodaxe and Ironhammer. On the way to, a man in somewhat shabby breastplate and helmet says to his well-dressed wife: I get that it's a romantic epic but...

Sybil: They're both dwarves, dear.

Camera continues to pan past the ticket counter.

Jack Slater: No, really, Stalone is great in it.

Camera finally pulls back to focus on two young men, each in their late teens. One with black hair, green eyes, and Mediterranean complexion. The other is fairer, blond with blue eyes, and wearing a noticable amount of green.

Percy Jackson: I don't have good luck with movies.

Magnus Chase: Let's just choose. If we choose a bad one, we're only out a few bucks.

Percy Jackson: You don't understand. You haven't been adapted for film.

A figure looking like Tom Hiddleston in a green suit leans down to poke his head between the two.: It didn't go all that great for me, either.
Read more... )
Setting: Winter.

Camera focuses on a great, tall oak tree has branches that droop nearly to the ground, laden with large icicles and weight of snow. The branches have scar marks where they have had minor breaks that healed over and then again.

As the great oak's limbs droop and the ice merges. The result of decades of water, only a bit at a time, sliding down the icicles and freezing. More supernatural than accident of nature is how that forms into a throne of ice.

Camera pulls back to note a giant, stone tablet before the throne.

King Edmund Pevensie the Just frowns at the whole setting.

Edmund: This isn't canonical. This scene is nowhere in the books.

The voice of Jadis has no visible source: Narnia never had good continuity. Imagery and history both bent to Authorial need of the moment. It was always the logic of a dream. Such a shame that it tried to pretend otherwise.

Edmund: Why have you brought me here?

Jadis: I didn't. Why have you brought me here?
Read more... )
Establishing Shot Exterior: The Multiverse Multi-port. The camera-side of the port is an airport with a grassy lawn by a parking lot. To the left is a lush coach port and a mid evil village. To the right is a stagecoach mail pickup amidst a desert. Opposite the camera, you can see a sea port with a ship at port sporting a black flag.

The Camera moves over and shifts just by one degree and the stagecoach disappears, replaced by a futuristic, undersea, submarine airlock. The sea port disappears to be replaced by a star-filled space-port.

Close up shots sequence through multiple signs in multiple languages, each seeming to say the same thing. The camera rests on a sign in English.

Sign reads: Warning! Attempts to comprehend the architecture and geography of the Multiverse Multi-port are connected to nose-bleeds, migraines, and exploding heads. Do not attempt! Multiverse Multi-port will not be held responsible.

The camera pans to the side to show a wide open, two story fashion shop, the sign above reading "The All Purpose Fashion Experience".
Read more... )
Scene 1

Setting: The Imperial Office on Coruscant. The room is dark and stark, as is the throne, a black, metalic metalic chair on a raised platform. Emperor Palpatine wears only long robes.

Palpatine: I've never kept my religion a secret. In fact, my apprentice brings it up at meetings. Do you see me stopping him? Nobody can discuss power without him talking about how much more powerful is The Force.

Palpatine: I don't push this in law, because I know that Theocracy isn't the way to go. But, I really do think the Dark Side has a lot to offer the people of the Empire. People need to feel their emotions, to process them and to use them to become stronger and freer, individually and as a unified people.

Camera pans to see a woman holding what could be a pen up: Feel their emotions, like hatred?

Palpatine: That's just one emotion, and unfairly maligned I might add. Hate is an essential emotion to a complex emotional landscape that needs to be explored and contextualized.

A light blinks on the right arm-rest of the throne.

Palpatine: Oh, we're out of time. I've got this appointment with some scientists who say they've made some important discoveries. I hope you have enough for your article.

Woman: Yes, thank you, Emperor.

Palpatine: I look forward to reading it.

The door opens. A man and a woman walk in.

The woman nods to them as she passes, the door closing behind her.

Palpatine: Nice to meet you two. I hear you've discovered some kind of new fuel?
Read more... )
Establishing shot: The playground outside a school and the window into the school's cafeteria. Children sit at the various tables, eating and conversing. The camera pans to a table beside the playground where one lone boy sits, eating his tomato sandwich and reading from a text book.

Two adults walk from the school building. The woman is dressed in the more modern style of the school, with slacks (positively scandalous for this 1950s setting). The man is dressed in the traditional school-master's mortar and gown.

The boy glances over to see the two adults approaching and immediately straightens his back, closing his book.

Susan Pevensie: Young man, would you be young Eustace Scrubb?

Young Eustace Scrubb: Yes, I would be, Miss...?

Susan Pevensie: I'm Ms. Pevensie.

Young Eustace Scrubb: Yes, Ma'am.

Susan motions to the man.: This gentleman is also named Eustace. I'm sure you have much more in common than that.

The older Eustace gives the younger a sterner, even contemptuous look.: Why are you in here and not with your (sneers at the word) friends?
Read more... )
Exterior Shot: A grey, stone castle surrounded by wooden defensive walls. Snow falls amidst fir trees. In the courtyard stands a pale tree with red leaves and, whether carved or naturally, the appearance of a face on the trunk, leaking red sap.

Interior Shot: A mostly empty banquet hall. Straw lines the ground. At one end of the table sits an old man with a long, flowing beard, wearing a purple cloak with gold trim. His chest is heavily muscled and bare. A raven rests on each shoulder.

Odin: They're deliberately reaching into our ancient canons, now.

At the other end of the table is an old man with his own long, curly beard. He wears a toga that leaves half of his own heavily muscled chest bare.

Jupiter: Canons that have been accepted whole-cloth as the invaluable cultural artifacts that they are.

Neddard Stark: I am not unmoved. I am a leader, myself. I know, well, what a leader needs from those over whom one stands as Lord and Protector. Yet, I neither have your own canonical power nor the deep impact upon culture of either of yourselves.
Read more... )
Camera shot of the ocean from a beach. A longboat crests waves into view. A tall, strong-looking figure stands steering the longboat by two ropes attached to the sail, one rope in each hand. As the longboat comes closer, the figure appears to wear a fictional-styled horned helm. The camera zooms in and focuses to see that the figure does not wear a helm at all. The Minotaur steers the longboat to the beach.

Ed leaps from the longboat, then jumps around, laughing.: Up and down and left and right and around and around and around!

The Minotaur leans down to lift up the visibly woozy Shenzi and Banzai.

Shenzi: How can he stand it?

Banzai: He's always like that, his feet just agreed with his mind for once.

The Minotaur carefully sets the two on the beach.

Shenzi: Thanks... eh... Minotaur. I... I need a moment. Can you stop Ed?

Ed shoots for the edge of the beach.

The Minotaur leaps into the air to land and scoop Ed up into a football carry.

Ed runs for a couple seconds before he realizes his feet aren't on the ground. He looks up at the Minotaur and chortles.

Banzai belly flops down on the sand with a groan: Thanks again, Big Guy.
Read more... )
Wide shot on a Colosseum. In the center is a large, clay sculpture of a man in recline. Camera pulls back to reveal that the building is but a model on a table.

Standing over the model is a woman in a loose royal blue robe with gold trim. An owl perches upon an outstretched arm.

Athena: If we're going to keep employing half-mortal children to do our jobs for us, we may as well start a camp.

Accross the table stands a woman in a robe with greens and reds and silver trim.

Artemis: Really? You're trying to link the legends up to the Percy Jackson series.

Athena: The books, only, not the movies.

Artemis: Well, good for that, at least. But, still. We're above that kind of thing.

Athena: I'm can be a fan-girl if I want to. I'm a goddess, who's going to stop me?
Read more... )
Establishing shot: Overhead shot an expansive stone maze. The maze borders the sea at one side and a village of ruins beside it. Two sides expand to wilderness. Camera moves to the entrance. The entrance is framed by the legs of a giant statue of Poseidon.

The camera takes a slow look at the statue of Poseidon, the God King of the Seas.

A stream of urine hits the statue's feet.

Banzai rolls eyes: Humans always making things look like them.

Ed laughs: Just makes more of their likeness into bathrooms.

Ed, Banzai, and Shenzi have pulled, by ropes that they held in their teeth, a sled carrying a large sack.

Shenzi sits and speaks aloud.: If anybody in there doesn't want us coming in, tell us. However you tell us, we'll respect it.

Banzai: We've heard enough about what you do to people who come in there who you don't like, believe us, we'll respect it.

Ed laughs: Blood! Blood and bone and Jackson Pollock paintings!

Banzai: Yeah, that.
Read more... )
Setting: A dark cliffside, lit only in a dim, orange and red light. Boulders hover in the air, attached by chains to the cliff. Jutting out from the metalic cliff is a giant, steel-and-girder construction made to look like a dragon's head. Ontop of the dragon's head stands a red humanoid, baring horns, elongated ears, bone spurs jutting out from knees, elboes, and shoulders. Long red wings hang behind the person.

One boulder is very large indeed. Ontop of this boulder stands Alanis Morissette god, who rolls her eyes and motions to the Metatron.

Metatron: Our offer remains. We can arrange a very comfortable meeting within our canonical realm.

Scar paces around the edge: New Jersey has an unfortunate dearth of lion-friendly locals.

Reepicheep: And, with all due respect, you cannot expect us to trust you in a realm where you have nigh-infinite power.

A.M.God throws up her hands in exasperation

Metatron: My lord... or lady, whichever depending on desire at the moment, is the very force of goodness in that realm. What could you possibly have to fear?

Azrael sits down at the center of the rock and looks out at the infinite expanse of cliff side.: Goodness? That's the debate we're here to have.
Read more... )
Setting: Classroom after class.

Wot: Do you know why you're here after class?

Dash: No. I mean, I know you think I put that tack on your seat, but I couldn't have. I'd-

Wot: You'd have to have a superpower, like super speed, which our society fully knows some children are born with.

Dash: Uh... yeah. But, there's no way I'd have a super power.

Wot: These bits of mischief tend to happen just as there's a breeze between you and whatever mischief happens. And, your parents have a disagreement on whether or not to sign off on you joining the track team.

Dash: Uh...
Read more... )
Setting: The BHB Orchard. Pevensies, Susan and Edmund, have just walked off to have their own conversation.

Cain: It's all just a result of your standard selective breeding. But, the fun part has been watching nature do its own selective breeding, just creating more and more variation, and, to all I've seen, no indication of some boundary of "kinds", yet.

Peter: You're not upsetting me with evolution. Nothing in my text suggests it and even C.S. Lewis has found the question of whether or not Genesis was a factual account to be of no interest.

Cain: No, it's my mere presence that upsets you.

Peter narrows his eyes.
Read more... )
Setting: The BHB Orchard, later on in the picnic.

Peter sits, silent and stern, with arms crossed.

Susan: Edmund, if you would take a walk with me. I'm quite sure that Cain and Peter haven't exhausted their conversation.

Peter remains silent.

Cain: Oh, I can explain the biological history of modern domesticated plants. For instance, do you know that cabbages, broccoli, and cauliflower share a common ancestor?

Peter narrows his eyes and ignores Cain, but talks to Edmund: Don't trust her. With the kind of company she keeps, these days, she's probably working with the White Witch.

Susan: Certainly, but she's a force of winter. I never bring her around here, she'd ruin the crops and I refuse to live in a world without Officer DeVille's apple pies.

Susan: Besides, Edmund, you're a Pevensie. Taking unnecessary, easily seen and completely useless risks to further the plot is just part of what we do.

Cain: I have pictures, in this book, of what corn looked like just a scant 100,000 years ago.

Edmund looks at Cain, looks at Peter's increasing anger.: Let's take that walk.
Read more... )
Setting: Above the clouds. The golden coloration along the horizon indicates sunrise, though the source of light is off screen. Everything is bathed in a mixture of gold and white.

Aslan: I know we all have our disagreements.

A figure played by Morgan Freeman, in a white-on-white suit speaks up.: You've called me a distressingly unserious depiction.

Aslan: Indeed I have, and I stand by it.

Metatron stands in front of a woman in a flowing white dress: As you are aware that we have called you are what happens when people take a good idea and make it into a belief.

Aslan: I'm quite certain that I would have an argument, if that actually meant something. Yet, we are not here to debate or argue. We have a common issue.

George Burns wears a white golf-shirt and white pants, with a golf viser.: I don't think so. I don't even have any villains in most of my movies.
Read more... )
Setting: An office. Syndrome sits across the desk from Wot.

Syndrome: We'll have to use supers to test and refine this robotic orb in order to make it a monster. Then, I'll send the monster-orb to attack a city. I'll save the city from the monster-orb. I'll be a hero. It'll just cost a few billion dollars and the lives of some supers. And, everybody will want to buy my technology.

Wot: Okay, I get how certain parts of this work. I even get how certain parts of this plan might even be good for society. But, I have a question about this orb-monster business.

Syndrome: Oh, if you want out, don't worry. In fact, I'll make sure you don't have to worry about anything ev-

Wot: Euphemism for killing me. I get it. No, I'm actually asking what I think is a reasonable question.

Syndrome: ... Okay. What's your question?

Wot: About this last part of the plan where you make the orb-monster. Why?

Syndrome: What part don't you get?

Wot: The part where it serves any purpose at all.
Read more... )
Establishing Shot: Hall of Justice: Superfriends version.

Inside, at the meeting table, characters better animated than their surroundings sit.

Flash squirms in his seat.

Batman gives Flash a look.

Flash: These chairs are just so poorly animated. I can't get comfortable.

Batman: Nobody can get comfortable. It's not a well fleshed out iteration.
Read more... )
Scene 1: Flashback to the Wyvern Castle in Scotland in the Middle Ages. Setting: the rookery

Goliath steps in and points a finger to a corner.

(The trio is not named yet in continuity, but I'm still using their names for ease)

Brooklyn: We didn't start this fight. I know we're not supposed to fight with the humans, but we do have to defend ourselves when they-

Goliath: When the humans are those under our protection, you defend yourselves by taking wing.
Read more... )
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