gun three

Random Encounters — The FNAF Musical {Sentence Starters}

  • ❛❛ Hello? ❜❜
  • ❛❛ I’d like to leave a few quick words. ❜❜
  • ❛❛ That’s completely absurd. ❜❜
  • ❛❛ Time to play. ❜❜
  • ❛❛ Did one of them just move? ❜❜
  • ❛❛ Don’t be dumb! That’s insane! ❜❜
  • ❛❛ What’s that sound? It seems to be screaming. ❜❜
  • ❛❛ Seal the door! Hit the lights! ❜❜
  • ❛❛ I think that camera’s dead. ❜❜
  • ❛❛ Don’t blink, don’t breathe, don’t move… ❜❜
  • ❛❛ Wow, I’m feeling kinda loopy… ❜❜
  • ❛❛ Are you here to kill me? ❜❜
  • ❛❛ Something here just reeks of blood and suffering. ❜❜
  • ❛❛ These halls are echoing of death.. ❜❜
  • ❛❛ In all my dreams I see a maze of halls with bloody walls and countless scrawls… ❜❜
  • ❛❛ Don’t play these games. ❜❜
  • ❛❛ I’m armed with more than a light. ❜❜
  • ❛❛ Just you and me, a gun or three… ❜❜
  • ❛❛ We forgot to lock the perp in again. ❜❜
  • ❛❛ I know we haven’t spoken in a while… ❜❜
  • ❛❛ I tried to move on and just forget… ❜❜
  • ❛❛ I’m wondering if it’s all in my head. ❜❜
  • ❛❛ What should we do? ❜❜
  • ❛❛ How could he just disappear?. ❜❜
  • ❛❛ Why is he tied up? ❜❜
  • ❛❛ Watch out, he’s coming for you!. ❜❜
  • ❛❛ Good thing this door can be locked. ❜❜
  • ❛❛ Please don’t kill me. ❜❜
  • ❛❛ A little overtime never killed anyone. ❜❜
  • ❛❛ Is it true? Are they really back? Am I going mad? ❜❜
  • ❛❛ One mistake is all it takes and this may go bad. ❜❜
  • ❛❛ Is somebody there? ❜❜
  • ❛❛ I’ll fill the void with noise. ❜❜
  • ❛❛ I swear we’ve met before. ❜❜
  • ❛❛ You won’t take me alive! ❜❜
  • ❛❛ You should show him a little respect. ❜❜
  • ❛❛ Are you with them? ❜❜
  • ❛❛ We’d go to the police, but they’d think we’re crazy. ❜❜
  • ❛❛ What do I get out of this? Psychological damage? Uh, a horrible gruesome death? Twenty five to life with a cellmate named Buffalo frickin’ Bill? ❜❜
  • ❛❛ Turn that off or I will kill you. ❜❜
  • ❛❛ Laying low is usually done quietly. ❜❜
  • ❛❛ I killed a guy. ❜❜
  • ❛❛ I put three rounds in his chest. The guy must have known black magic. ❜❜
  • ❛❛ Survive until 6am. ❜❜
  • ❛❛ What am I here for? ❜❜
  • ❛❛ Don’t let things get any worse. ❜❜
  • ❛❛ I can’t find this alone. ❜❜
  • ❛❛ I didn’t even want this job. ❜❜
  • ❛❛ I’m kinda wanted for attempted murder. ❜❜
  • ❛❛ You are kinda stupid. ❜❜
  • ❛❛ This is a crime scene. And you’re the victims. ❜❜
  • ❛❛ You’re gonna burn for this. ❜❜
  • ❛❛ You should probably override the door controls. ❜❜
  • ❛❛ It’s probably obvious now, but… I didn’t die in that fire. ❜❜
  • ❛❛ I figured I’d give you one last ring; for old times’ sake. ❜❜
  • ❛❛ There’s nowhere you can go that I won’t find you. There’s no place you can hide that I won’t kill you. ❜❜
  • ❛❛ This isn’t over. ❜❜

Dark Matter (SyFy) — There are moments in history when things become more fluid, patterns change, and in those moments the actions of even a single person can make a huge difference.

Those floor to ceiling windows Geoff has in his office are great and all, very prestigious, perfect for gazing out at his kingdom, but they have to have come back to bite him at some point.

Surely there has been a moment when he’s staring out, halfway through updating Burnie on how things are going when in quick succession he spots one of his cars screaming down the road with a barrage of police in hot pursuit, in turn chased by what bizarrely appears to be motorcycle-drawn chariots, a series of parachutes popping in the distance as a distinctly familiar jet starts to plummet from the sky, and panicked civilians scattering every which way in the face of a lone tank rumbling down the plaza.

There must have been a moment when Geoff’s pressed his forehead to the cool glass, closed his eyes as Burnie chattered away unaware in his ear, and wondered when the fuck he lost control of his life. Also, how soon it would be possible to install blinds.

Quick Tip: Making Characters Info Dump Without Seeming Like They’re Info-Dumping

The Tip: REFERENCE information with their OPINION being the focus. Never “tell” information, while not showing an opinion.

  • Why and How it Works:

Show of hands; how much do you hate when characters tell other characters things they already know, just because the reader doesn’t know (and needs to know)? Sometimes there’s information that needs to be shared with the reader and there’s no other way to do it but by SAYING it.

Here’s how to dodge the problem.

Imagine you and your friend are characters. You and your friend just watched a movie together. When talking about it, you wouldn’t “tell” them what happened – you’d reference it.


“It was an awesome movie. That scene where Harlock swishes his cape and pulls out a huge sword that’s actually a gun, kills three soldiers, and then moves down the hall to take down the others; that was so cool!”


“In Harlock Space Pirates, there’s this scene where he swishes his cape and pulls out a huge sword that’s actually a gun, kills three soldiers, and then moves down the hall to take down the others.”

The reader now knows what happened in the movie, but the characters didn’t need to explain it to each other like its new information.

In real dialogue, people REFERENCE shared knowledge. They never “tell” it. If they “tell” it, it’s insulting and the person they’re talking to will be insulted, because you’re essentially saying they’re dumb.

Here’s the Kicker That Makes it Work - Opinions:

What your friend already has is the information. What your friend doesn’t have yet is your view on things. What you’re really giving your friend is an opinion – but what you’re giving the reader is information. Have your characters assess the information and give their thoughts, opinions, feelings, etc. on it in the same breath – rather than just saying it. As a bonus, this is fantastic for showing your character’s personality. 

Pro Tip:

The opinion doesn’t need to be long. It can be as simple as “that was cool!” or “it was evil but it was damn smart.” The end. That’s the opinion. You got all that info to the reader and your character doesn’t look dumb or mean.

Where Ryan and Gavin are a package deal before the FAHC

They’re a marauding rumour, notorious from coast to coast, the Vagabond and the Golden Boy; names that taste like blood. They drift from place to place in patterns no one else can predict, taking jobs that catch their fancy, leaving ruined bodies in their wake.

The Vagabond is the mercenary, oversized and unforgiving, a masterclass in brutal power. There are people who kill and then there are killers, and the Vagabond has never once implied that he didn’t enjoy his job. His disguise has become an icon, instantly recognised by any in the know, a shorthand imagine for grisly ends. The mere presence of the Vagabond sends a shot of dread into even the most experienced of adversaries, primal fear born from a flawless record, from his relentless drive and unmatched talent, from the way death bares its teeth behind his eyes. Only one has laughed in the face of the mercenary and lived to tell the tale, fondly and at great length.

The Golden Boy is the talker, the charmer, the irrepressible deal maker. He is blinding smiles and quick fingers, pretty knives and prettier lies. Getting into his good graces is a boon of untold fortune, but falling from them is a curse few survive. The Golden Boy’s shine covers a dark streak, an edge of something deeply wicked and always amused coated in false sweetness, in bubbling laughter and fickle affections, in deceptively clean hands. Smarter than he’ll ever let on the Golden Boy is always presented exactly how he means to be, exactly how he needs to be, and no one sees even a flicker of emotion he doesn’t intend. It’s easy to see his name in the visible affinity for precious metals but it’s more than just that; the boy is walking fortune, a well of good luck and perfect timing that never seems to run dry - like everything he touches turns to gold.

It’s an unusual partnership, their differences almost perfectly symmetrical; the shadow and the sun, the apparition and the vision, the reaper and the siren song. Cold apathy and vicious elation; a mask to hide emotion and emotions used as a mask. Alone they’d each be dangerous, together they are an unstoppable force.

Not that people haven’t tried. Not when they’ve made so many enemies, when the bounty on their heads could buy small countries and they serve no one but themselves. And each other. Their only perceivable failing, that inexplicable devotion, adoration between monsters. It’s not hard to spot, the ineffable way they’re linked together, a fond affection beyond any business-only partnership. It’s visible in the handles of Ryan’s knives, elaborately gilded in gold despite the utilitarian matte black of all his guns. In the medallion Gavin never takes off, differentiated from his other jewellery by the intricate engraving of a distinctive skull. In the way they look at each other, the way they talk to each other, the way they’ve both given up the protection of hardened self-interest in favour of vicious loyalty. Emotions so wildly out of place and yet even this is not the weak link it should be;  the two are rarely separated and never out of contact, responding to threats against each other with a far greater degree of horrifying retribution than is ever afforded to a threat against them both.

So many have tried and failed to understand their dynamic, attempting to pick it apart and unravel hidden weakness. Countless numbers who think the solution is to kill one, or the other; who’ve somehow gotten it into their heads that either the Vagabond or the Golden Boy is more valuable and the other is merely dead weight, easily replaced.  

There are those who claim the Golden Boy is the Vagabond’s pet; pretty and pampered and merely tolerated by the assassin, more temporary appeal than true partner. Those are the one’s who’ve seen Ryan huff long suffering sighs as Gavin grows restless, seen him adopt the tone of a frustrated parent speaking to an unruly child as he demands patience, wraps commands in condescending endearments only to crumble into indulgent acquiescence in the face of exaggerated insult. Who’ve seen Gavin spin traps out of words then fade into the background while Ryan does the heavy work, turning his nose up at blood and lamenting ruined clothing.

There are those who claim the Vagabond is the Golden Boy’s dog; boorish and fierce and above all obedient. Those are the ones who’ve seen Gavin command Ryan with a flick of his fingers, slink around the edges as his bidding was done and offer crooning praise when a bloody head is dropped at his feet. Who’ve seen the sharp violence of Gavin’s mind, the way he pushes for slower and crueler and more entertaining; seen how the Vagabond watches him with adoration in his eyes; a rabid animal tame only in the presence of a master with equally sharp teeth.

Ramsey is one of the few to see them as they truely are. To understand that neither rumour was true, that both were, that power flowed equally between the pair and neither could for one moment be thought useless without the other. To see that their connection was less weakness than it was violent strength, and realise that being forcibly separated would only make them infinitely more volatile. Ramsey noticed it all, and he wanted. He schemed. He sent out feelers, hints and suggestions and little incentives. An invitation in blood and gold and wicked chaos. In the only language they speak.

When the Vagabond and the Golden Boy sweep into town Los Santos goes still, holds its breath, prays to be forgotten. They’re not exactly trying to be subtle, stories pop up all over the city, a nightmare of violent shadows and polished gold but they don’t seek him out, so Geoff waits. Patient despite the way his hair stands on end, the way the back of his neck itches and he’s deafened by the relentless ticking of his own watch.  

It’s less surprising than it should be when they appear in the penthouse unannounced; they were invited after all, in a manor of speaking, and Geoff, ever the good host, narrowly prevents his growing crew from launching into a firefight he’s not entirely confident they’d win. The Vagabond looms, cold and unrelenting, demanding answers with tangible menace. The Golden Boy lounges, smirk as lazy as his eyes are sharp, all obnoxious comments and negligible threat. It’s a test. Geoff Passes.

Nygmobblepot what if

Okay, I’m hoping for some big battle against the Court of Owls at the end of the season that everyone gets involved in

And it’ll mean Eddie and Ozzie calling a temporary truce to their personal antagonism in order to survive the onslaught of Court assassins being sent after them (or whatever)

Then, during an ‘eye of the storm’ moment when they are hiding and unsure of their survival, they should take the time for a bit of emotional honesty. Which will be all serious and stuff - Eddie confessing he is glad Oswald survived and he is sorry he tried to kill him and Ozzie was right about them needing each other and stuff. And Ozzie would confess he still loves Ed and all that jazz

But MOST IMPORTANTLY it would include something like -

OSWALD [soft, genuine]: I’m sorry I killed Isabella.

EDWARD [instinctive, exasperated]: ISABELL-! Oh. Yes. That’s. Right, um, thank you…

The three hardest things to sing probably ever

3. So so so so this is what it feels like to match wits with someone at your level what the hell is the catch it’s the feeling of freedom of seeing the light it’s Ben Franklin with the key and the kite you see it right the conversation lasted two minutes maybe three minutes everything we said in total agreement it’s a dream and it’s a bit of dance a bit of a posture it’s a bit of a stance

2. I am in the Cabinet I am complicit in watching him grabbin at power and kissin it Washington isn’t gon listen to disciplined dissidents this is the difference this kiD IS OUT



[EPISODE] 189. Duty or Friendship! Conflict Between the Sailor Senshi.

Series: Bishoujo Senshi Sailor Moon Sailor Stars

Kana: 使命と友情の間! S戦士達の対立
Romaji: Shimei to Yuujou no Hazama! Seeraa Senshi tachi no Tairitsu

Original Air Date: October 19, 1996

Director: Harume Kosaka
Writer: Genki Yoshimura
Animation Director: Minako Ito

Plot: While their respective peers think otherwise, Usagi and Seiya still believe that both teams of Sailor Senshi can work together.


  • FM No. 10 was visited in the third episode of the series.
  • In the moment where Sailor Jupiter told Sailor Moon to heal the phage, Sailor Mercury was wearing one stud in each of her ears as opposed to the new style of earring that were included with her “super” upgrade.
  • As Sailor Star Healer took Seiya’s body away, the crescent moons on Sailor Moon’s earrings were temporarily missing.


  • Sailor Tin Nyanko’s name was revealed here.
  • A completely new animation sequence for Star Gentle Uterus was first shown here. It would become the standard stock footage used for the remainder of the series.


  • Mars Flame Sniper was seen for the last time.
  • Sailor Tin Nyanko’s gun was only used in this episode.


  • Juuban Municipal High School
  • Fruit Parlor Crown
  • The Three Lights’ studio
  • Sailor Galaxia’s chamber
  • Ginga TV
  • Fuku Fuku Department Store
  • FM No. 10