best scripting

"... Thank you, Mr Spock."

Mccoy: *gives cup to the pretty woman he’s trying to woo*
Spock: *gives cup to Jim*


Spencer Hastings & Toby Cavanaugh | S05E02 “Whirly Girlie” Original Script


OC time: small soft princess unma and her big buff troll girlfriend koive from a scriptless comic i sometimes doodle for fun

My favourite part of Chitty Chitty Bang Bang though

is that it is 144 minutes long. And for the first two thirds of that it is a perfectly fucking normal movie. 

Like there’s a whole ninety minute movie which is like an inventor who loves his two kids and he wants to get them the thing from the junkyard that they want because it’ll be sold to be destroyed soon and he tries to make money but he can’t and he meets the sweetmaker’s daughter and he doesn’t like her and she doesn’t like him but then they get closer and it looks like the car his kids wanted is going to be ruined but then he accidentally makes a sweet and he and the sweetmaker’s daughter try to sell it to the sweetmaker but then it backfires and he’s sad because he’s going to disappoint his kids but he decides he can’t let them down and he goes out and is able to get the money at the fair and he rebuilds the car and takes his kids and the sweetmaker’s daughter on a day out in his newly fixed up car and he and she are flirting on the beach and the kids really like her and trying to push them together and like wow this must really be wrapping up soon and THEN PIRATES AND THE CAR IS FLYING???? INDENTURED INVENTOR SERVANTS???  AND WE ARE NOW IN SOME GERMANIC COUNTRY WHERE CHILDREN ARE ILLEGAL AND THE CHILDCATCHER AND THE TOYMAKER AND THE KING IS TRYING TO MURDER HIS WIFE AND THERE'S AN ARMY OF ANGRY CHILDREN???? haha well that was strange well let’s just drop the sweetmaker’s daughter off at her house I wonder if they get together

She descended the ramp and walked over to Leia. Leia held Rey’s face in her hands, then embraced her, sharing the girl’s tears.

TFA #6

Glad Tidings to Strangers

It is not the most prestigious university on your list, nor the most convenient. But when the literature comes in the mail as you wait for your papers, it is the only university that thinks to include a half sheet of campus traditions: a guide to all those odd little things that people expect you to know, like how to buy a subway token or the correct way to wash one’s hands. ‘How thoughtful’ you think. When the acceptance letters and visas come, you go.

To your surprise, this was only a taste of the advice yet to come. Freshman orientation is absurdly detailed. The dorm monitors (RAs, they call them) have some new tidbit to share every time you see one. The campus newsletter has published an entire new student guidebook: copies are pushed under every door and stacked up on every countertop. You take detailed notes of it all. Some of the advice is obvious. (Don’t walk in the woods alone at night? What idiot would do that?) Some of it is bizarre. (Throw away perfectly good food to birds?) But you remind yourself that maybe there’s someone else in this room right now rolling their eyes at the idiot who didn’t already know about carrying salt and iron. So you keep your mouth shut, wear the washer-on-a-shoelace necklace they handed out at the Student Union, and follow the rules meticulously.

And you are astonished when you realize this is not just advice for you and the other internationals. This is for everyone, an entire room of equally wide-eyed freshmen. In some places, you feel you actually have an advantage over your more local classmates. You already have a Western nickname to give out and it is a relief to adjust away from “no, thank you” back to “perhaps later.“ 

Its not perfect, of course. People are still people and you still make mistakes. In O-Chem you are overwhelmed to the point where your notes become a hash of English and normal writing. After class you sit in the grass, laboriously working your way backwards, when you feel a breath on the back of your neck. A long finger reaches to touch the places where you couldn’t keep up and your own language bled through the page. "Pretty,” hums a voice you can’t identify as male or female. “Write for me?”

You remember the rules. You’ve studied them. You start to tear off a piece of corner of paper - then think better of it and turn to a clean page in the back of your notebook, reaching into your bag for a better pen. “And what do you offer in exchange?” you say casually. 

There’s a pause, not an unfriendly one. It gives you time to think, to carefully ink out just a few words in your best script: “fa tooba lil ghuraba.” You hear a hum of approval, and it whisks the paper out of your hand. You half expect a scream or perhaps an explosion of divine wrath, but the only thing that manifests is a sprig of something tiny and silvery-pink growing out of your notebook. After seeking more advice, you carefully tweeze the sprig and its paper bed into a tiny test tube and add it next to the washer on your shoelace necklace.

When your cousin’s nephew and his friend receive their papers, you are now one of the lists of names they are given to reach out to. You respond without hesitation. “Come,” you say. “Come. There is no place on Earth that makes such an art of being kind to strangers.”


The best man needs to be a man.  So does the bride.


This part of the script (that was not used) shows Sherlock suggesting that John’s mother could be his best man.  John’s response is that a) she’s dead and b) she’s a woman.  So, this may seem like a bit of silliness and well, it is, but it’s also reminiscent of this,

So, why can’t John’s mother be the best man?  Because she’s a woman and she’s dead.  A woman should not be John’s best man, the best man should be a man and it should be Sherlock.

Now, why is John marrying a woman?  This seems ludicrous to Mrs Hudson, foreshadower of everything.  John should be marrying a man, more specifically Sherlock.

If there’s a parallel here, between John’s mother and Mary, then we can also see foreshadowing of the latter’s death.  Mary is a woman and she’s (soon to be) dead.  

Everywhere we look the message is clear: John should marry Sherlock, not Mary.  Is this why this was part was cut?  Did it make the point that John shouldn't marry Mary too obvious?  

Note that when John asks Sherlock to be best man, the whole thing reeks of marriage proposal, since John should be marrying Sherlock.  John goes to see Mrs Hudson before asking Mary to marry him.  This is reminiscent of asking the father of the bride for the bride’s hand in marriage, except that Mrs Hudson is like a mother to Sherlock, not Mary.  He is symbolically asking for Sherlock’s hand in marriage or at least he should be.  That’s in part why Hudders reacts with laughter at the absurdity that John could be marrying the wrong person.  Now, in the plot, at this time, neither knows that Sherlock is alive, but we do.  This scene plays out on a level where the message is that John ought to be there to be asking Mrs Hudson for Sherlock’s hand in marriage but everything is just sort of askew: Sherlock is dead so what ought to happen is not possible.  In this context Mrs Hudson’s response is more than bisexual erasure, it’s give us this hint at how right it would be for John to be there to discuss asking Sherlock to marry him vs what’s actually happening.