raleigh antrobus

bc i figure nobody has suffered enf yet / alt title u thought i was joking didnt u

no my imagination may be sick & twisted & i may come up w plot ideas that leave me wondering wtf my subconscious is on , but I WLD NEVER IN 1 MILLION YRS THINK OF THIS

& IF IN SOME INEBRIATED FEVER DREAM I DID

I WLDNT INFLICT IT ON U

( WINGS WLDNT LET ME ANYWAYS ^_^)

but srsly CLD NOT MAKE THIS UP yes it is the infamous NAKED DREAM DANCING for those of u who missed it b4 ( pretty sure i sporked this way back , wld also be under the order of the golden fedora tag )

INT. DOJO CORRIDOR – NIGHT (GHOST-DRIFT/DREAM)
From Raleigh’s POV, we drift down the dark, wood-floored hallway, passing opaque paper windows.

INT. DOJO TRAINING HALL – NIGHT (GHOST-DRIFT/DREAM)
Raleigh finds Mako alone in the training hall, dancing by herself, as if with an invisible partner.

She looks up from the footsteps on the floor and sees Raleigh. She speaks perfect English…

MAKO
We should practice the steps. We’ll be tested soon.

Raleigh replies in subtitled Japanese. Nevertheless, they
seem to comprehend each other.

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6

ENTER THE DIOSKOURI - CONTRASTING FIRST IMPRESSIONS IN PR

so guillermo gives us our first encounter w raleigh & his brother in a very subtle flashback type , where “the present ” is the narration , but the visuals are the past in a historical , not a subjective , context

so right away it has been changed , scope made infinitely bigger than one dude & his issues , which is a HUGE change from the orig script – prob the biggest 1 of all , narratively & ethically speaking

but in terms of charas , which is where we engage w narratives – what changes history from being ‘battles & dates & all that rot ’ to something that matters to human beings , & the same w fictional histories , even histories of a fictional future – the change is just as big

bc we meet raleigh as someone who leaps up at the first summons , raring to go fight monsters , who loves his job – also loves his brother & wants to share the glory & fun of the hunt w him , “keen as mustard” they used to say in the old boys own adventure stories

& we meet yancy as someone not quite as keen but just as ready & committed , who loves his little brother AND has no hubris , doesnt need to put him in his place or dom him for being annoying & kitten-like at 0200h , even if he is –slightly– more of a mature adult

so – & taking into acct that here are two self-described 'rock stars’ in the public eye , who choose to share a cabin on a base not exactly strapped for space , & MOREOVER a bunk bed , like kids ( its interesting they didnt AS children either ) – from the first minutes ’ introduction , nearly all the rest of the story does follow

the gallantry | duty-of-care | emotional devastation , all of it unfolds naturally from their first onscreen exchange - & so does the eventual upward journey – which , rly , starts when a badly wounded pilot struggles to put down wo causing civilian casualties despite his injuries

( which was a stupendously overwhelming sequence in the theatre btw )

THIS AGAIN IS NOT HOW IT IS IN THE ORIGINAL PRE-GUILLERMO SCRIPT !

BLACKNESS.
A deep, thunderous BOOM, like a mountain hitting the ground.
A garbled radio VOICE laughs triumphantly.

VOICE (FILTERED)
Game on! That sonuvabitch is down!

INT. CONN-POD ZUMA-1 – DUSK
We’re tight on a young man’s face – his square jaw tense; his short, dirty blond hair damp with sweat; his eyes focused and urgent. He’s RALEIGH ANTROBUS (23), a rare sort of pilot.

We don’t see much. It feels dark, cramped, and busy. Perhaps a cockpit. We’re dimly aware of Raleigh’s view reflected on the glass visor of his helmet – a flat, blue horizon.

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