wingedbeast

Establishing Shot: The town Thunderdome. Various people hang on the outer walls. A few in leathers and withs various styles of spiked hair. Some are orcs in traditional garb. At least one of them is Grodd in a metal breastplate and Roman-style cape. There is no chanting, but a hush as they watch something.

The camera pans down, past someone in a jersey and sipping at a beer, to the entry door.

Azrael: They're right through here.

Bartleby: Azrael, there's been something I've wanted to say.

Azrael opens the door, but pauses: What is it?

Bartleby: You... You were our friend. But, you manipulated us. You used us.
( Read more... )

Setting: A boardroom full of people sitting around a meeting table, looking to the chairman. His as yet empty seat is at one end. A golden-colored picture of a cartoon-like calf is at the other.

Chairman as he walks to his seat: Morning shoppers.

The board in unison: Morning.

Chairmen takes his seat: Anyone seen the overnights?

Various board members not in unison: No.

Chairman with a grin: We creamed 'em.

Light applause from the board.

Chairman: Last night was a rerun, which says to me that... *look up from his papers* Do I smell onions? *leans to the side and looks to see two men in casual dress, one cutting at an onion with a knife*

Chairman: Excuse me.

Loki (not the Norse god, played by Matt Damon): Huh?

Chairman: May I ask what you're doing in my boardroom?

Loki looks forward, indicating his friend: You may procede, mon frere.

Bartleby starts as he stands up: I have to start by apologizing. My friend has a penchent for the dramatic.
( Read more... )

Camera perpsective from a corner office in a tall building. The lights are off.

Camera pushes beyond the trees to an... eclectic community. Camera passes over a cave looking out at the street, with only a rocky space and a reinforced lawn-chair between it and the street. The mailbox reads Polyphemus

Next door over is the rib-cage of what must have been an elephant. The lawn is dry, cracked, and littered with smaller bones.

Next door from that is a shack with a green glow coming from inside, as well as a sign reading "Consultation with Friends on the Other Side: Side Entrance".

Camera rushes through a commercial district with such signs as "Needful Things" and "Poor Unfortunate Fashion Consulting" to focus in on a large half-sphere of metal grid and pikes. The sign reads "City Hall". The many who have climbed up on the grid are attempting to chant "Hegelian Dialectic". As the camera pushes into the dome itself, one of the chanters comments "the other one was easier."

One woman stands up in front of a microphone stand for the audience. She has the undeniable beauty and presence of someone played by Sigourney Weaver.

Alexandra: Excuse me, I thought the point of this community and this endeavor was for those of us who are treated poorly by our canons. I realize I'm new to this, new enough not to understand how Reepicheep qualifies-

Susan Pevensie is dressed in a smart, black blouse and black skirt, short enough to display her nylons.: I can get into that later.

Alexandra: But, George Bailey was done injustice by his canon.
( Read more... )

Setting: Waterfront park in New York. The bench faces the ocean.

Camera focuses on the profile of a distinguished, older man, wearing black suit and tie, speaks.

Agent K:Humans, for the most part, don't have a clue. They don't want one or need one, either. They're happy, they think they have a... good bead on things.

The other person from off camera.: Why the secrecy? People can be smart, certainly enough to adapt to a new normal.

Agent K: A person is smart, people are dumb, panicky, dangerous animals and you know it. Fifteen hundred years ago, everybody knew the earth was the center of the universe. Five hundred years ago, everybody knew the earth was flat.

Other person: That is a modern myth. The size and shape of the earth had been mathematically verified thousands of years prior.
( Read more... )

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... )

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Entries tagged with scenes

Black Hat Brigade: Episode 47

Scenes I'd Like to See: Dogma

Black Hat Brigade: Episode 46

Men In Matrix

Scene I'd Like to See: It's a Wonderful Matrix

Scene I'd Like to See: Matrix Revisited/BHB Episode 45

Black Hat Brigade: Episode 44

Black Hate Brigade: Episode 43

Black Hat Brigade: Episode 42

Black Hat Brigade: Episode 41

Scenes I'd Like to See: Even More Star Wars

Black Hat Brigade: Episode 40

Black Hat Brigade: Episode 39

Black Hat Brigade: Episode 38

Black Hat Brigade: Episode 37

Black Hat Brigade: Episode 36

Black Hat Brigade: Episode 35

Scene I'd Like to See: More Incredibles

Black Hat Brigade: Episode 34

Black Hat Brigade: Episode 33