midnight script


CW: None

Description: Virgil working on his calligraphy in the commons. 

Disclaimer: I have never written a fic before! Any and all constructive criticism is appreciated 

Pairings: Platonic Analogical/Hints of Prinxiety???? 

This routine was simple enough. Pulling the empty cartridge from the nib, attaching the small balloon like cleaner to the end, squeezing water up through the nib to clean the ink well. Virgil watched as the black ink dispensed into the small cup of water, swirling and creating patterns as it went. It’d been a while since he last used it, so his calligraphy pen needed a thorough cleaning. As the last of the ink was cleared and the water coming for the parallel nib was clear, he lifted himself from his spot in the commons and disposed of the now pitch water.


What he hadn’t noticed however, was Logan and Roman watching him from they’re place at the table. Both were rather surprised, seeing as they had never known the anxious side to be one for more meticulous or creative endeavours as calligraphy. Virgil was back in a moment, checking the nib was dry and clear of any left-over water or ink. He took a fresh cartridge from the small box to his left, shaking it. Logan admired the concentration on Virgil’s face. Puncturing the new cartridge into the inkwell, Virgil watched the ink drain into it. Once the cover was screwed on tightly, he produced a small black piece of plastic from his jacket pocket. Slipping it through the nib and rubbing the now vibrant purple ink onto his pale hand.  

Opening the journal in front of him, Logan was taken aback by the number of beautiful pages full of swirling letters and scripts that could have come straight from a manuscript in his library or even a royal decree in Roman’s realm. He was now completely immersed in watching as Virgil turned to an open page, and began to write. He was delicate, his hand flowing across the page.


His name now adorned the page in a Gothic script. This was no surprise. Though he pulled another pen from his case and continues to write. This time in a midnight blue.


This script was much more meticulous than the first. Perhaps the previous style was one he’d used more often? Logan thought. But none the less, seeing Virgil’s concentration brought a slight twinge of a smile to his lips. Changing pens again, his hand moved down the page once more.


Logic nudged the side facing him, tilting his chin upward slightly. The Creative side, looking up from his hand of cards and turning to see what the fuss was about, noticed Anxiety’s work immediately. A look of sheer wonder and happiness bloomed on his face. This script was easily recognizable. Mimicking the curves of the one thing that resonated through the creative side’s thoughts most often, Disney. With more of a flourish, it looked much more regal than Roman had anticipated. Virgil swiped the small black nib cleaner through the pen, this time rubbing the scarlet ink next to the purple on his skin. Lastly, changing pens yet again, his hand came down on the page.


In a curvy, playful script right off the cover of a “Be Yourself” journal, Morality’s name could be read in a bright yellow. Taking another pen, he touched the nib to the tips of each letter, the blue-green ink bleeding out in a gradient of turquoise and yellow.

Taking a moment to admire his work, Virgil finally looked to the other two side’s who’d been watching him intently:

“Y’know, it’s not polite to stare” he said.

Roman and Logan quickly turned away, causing Virgil to smile to himself. The creative side got up from his seat, heading towards the kitchen, leaving Logic and Anxiety alone.


“What, Logan?” He said, turning his disgruntled gaze on the other trait.

“Your skill with those pens is quite remarkable. I never knew calligraphy interested you.” Logan replied.

That brought up a slight chuckle. Of course you don’t, you never bothered to ask. The anxious side withheld that comment, looking down again at his page. “It’s a calming distraction. Not that it matters.” He said.

“Well, I’d be interested in learning those styles you used, perhaps we could practice together sometime? My attempts have resulted in much less polished work.”

Virgil rolled his eyes. The hidden compliment was appreciated, though he didn’t really know how to respond to it.

“Sure, Logic” He finally replied.

Roman returned at this moment and the long-paused card game resumed. Within the next few days, Virgil’s handy work ended up, much to his obvious chagrin, in a simple black frame on the wall of the commons. What they others would never know, was how much it made him smile.


Midnight (behind-the-scenes)

Lesley Sharp on David Tennant:
“When Sky is copying people’s speech patterns, we both had to learn the square root of pi to two or three dozen decimal places, but it was almost impossible to keep up with David.  His speech pattern, the rate at which he speaks, is phenomenally fast.  Really, really quick.  He learns pages and pages and pages.  And the rate at which he speaks is the rate at which he thinks.  Russell explained to me that David’s Doctor has a lot to say, because that’s David.  He’s so bright.  Isn’t that brilliant though?  The things that Russell thinks about and then re-interprets - I think they’re both amazing.”
         – from DWM #397

Part 2 of the Midnight behind-the-scenes photosets [ here ]
All of my previous behind-the-scenes photoset posts can be found here.


* He was so cute that I asked if he would like to see more of me, just the two of us~ We’ve been dating ever since~ And that, darlings, is how we got together. The not-unflatteringly-summarized version!

Fresh Air’s classical music critic Lloyd Schwartz is also a professor of English. He thinks one of the all-time great Shakespeare performances is Orson Welles as Falstaff in Chimes at Midnight, a 1965 film Welles also directed. Lloyd says he’s excited that this film has finally become available on DVD and Blu-ray in a beautifully restored print. Schwartz says

“Orson Welles was obsessed with Shakespeare from the very beginning of his career. One of his first successes came in 1937, when at the age of 21, he directed for the Federal Theatre Project a production of Macbeth set in a mythical Haiti with an all-black cast. In his controversial movie versions of Macbeth and Othello, he cast himself in the title roles. But his greatest screen performance was surely as Shakespeare’s irrepressible and incorrigible Sir John Falstaff in Chimes at Midnight— with a script Welles assembled himself from at least five Shakespeare plays.

Falstaff is Shakespeare’s most inspired comic invention, a life force even if his name comically suggests impotence. He first appears as the earthy drinking buddy of Prince Hal, the son of Henry IV, a king who didn’t take the most honorable path to the throne. But when Hal eventually becomes Henry V, the story takes a much darker turn.

In the close-up of Falstaff’s puffy, bearded face, Welles conveys not just the pain of Falstaff’s rejection, but even more heartbreaking, an uncanny flicker of pride in the young man who has learned more from him about kingship than from his real father. It may be the most profound moment of Welles’s entire film career.

There’s something almost autobiographical in Welles’s Falstaff.”


This started as a small conversation I had with myself on a lousy sunday that was gonna be three panels tops of light pose practice. It kind of grew; this is my third night at it til past midnight and there’s more script but it involves a character with an incomplete design, so this seemed a punchy enough spot to leave off/a good place to publish it before i nitpicked the script to the point i didn’t want to publish it anymore.

Part 1/? i guess?

anonymous asked:

Your Jem and the Holograms review was released two days after the movie came out. How long did it take to make the video?

Saw that movie release day Friday. Went home midnight and wrote a script and edited it all together by Sunday Morning.

It was worth it and ruined my sleep


[get to know me meme] 10 TV Shows - Current (10/10)@midnight