summary: a fun picnic day at the park turned into something more.
pairings:bucky barnes x child!ocs, fem!reader x child!ocs, bucky barnes x fem!reader
warnings/tags: fluff, slight angst, bruises, harassment ?, crying, swearing – lmk if i missed any!
author’s note: guess who’s back? JKJK SJDJDJDJ i just needed something to cope with, after all the shit this week :) i’ll be gone again after this, sooooo
likes, reblogs and feedbacks are greatly appreciated! please, please let me know what you think!
“Do you guys want some ice cream?” Bucky hollered from his place on the picnic mat. The kids, who were running around and playing with their ball, suddenly stopped at the mention of ice cream.
“Yes, please! I want mango, please!”
“Strawbewwy, p’ease!”
The both of you chuckled as they continued playing.
“Alright, I’m coming with Dada because I really need to use the restroom, so please don’t wander too far!” You told them. “I’ll be quick!”
Both the kids agreed, but Nari accidentally kicked the ball too hard. They watched to see where the ball was going, not wanting to chase it and risk getting lost.
Thankfully, the ball didn’t roll too far. Only, it hit a man’s foot and they watched as he picked it up.
Niko immediately started walking towards the man to retrieve the ball, but Nari stopped him.
“Bean, no! We can’t talk to strangers!”
“But,” he pouted. “Ball …”
They held a staring contest for a few moments until Nari gave in, unable to say no to his brother’s sad face.
Niko cheered and immediately ran towards the man as Nari followed quickly.
The toddler’s excitement died down when the man suddenly looked at him, causing him to squeak out and hide behind Nari, who just caught up to him and was catching her breath.
When Nari finally calmed down, she looked up at the man with an apologetic look. “We’re sorry to bother you, mister,” she then looked at the ball in his hands. “Can we please have our ball back?”
Instead of answering, the man just dropped the ball in shock and stared at the young girl.
Confused, Nari went to pick the dropped ball up when the man suddenly knelt and held her arms. Immediately, Nari tried wriggling out of his grasp, while Niko hid behind her more, gripping her shirt tightly as his eyes welled up with tears.
“Are you–” the man choked up. “Are you really Nari?”
“Please let go!” She didn’t answer his question and tried to get away instead.
“Listen to me!” By now, both the kids were crying. “I’m your– your dad! Don’t you know me? I’m Papa Nate!”
At that, Nari froze.
“Ayi?” Niko whimpered, seeing his older sister not moving. He waited for a few moments, not listening to the man as he continued to talk.
When Nari finally snapped out of her trance, she immediately tried to get his hands off of him. “You’re not my dad!”
“Yes, I am! Listen to me! Your mom is lying to you! Whoever she tells you your dad is, he’s not, so–”
“DADA!” Niko finally screamed out, crying loudly, making his sister and the scary man to suddenly look at him.
Bucky, who was paying the vendor, snapped his head towards the direction of his voice and when he saw his kids in distress, he told the vendor to wait and immediately walked towards them.
You, only finishing your business in the bathroom, heard this as well and ran in the same direction as Bucky.
Nate’s grip went loose and Nari took this opportunity to get her and Niko as far away from the man as possible.
You and Bucky got to the kids and you both immediately started checking up on the kids, both wincing at the slight bruises that started forming on your eldest’s arms.
Once you made sure they were both okay, Bucky nodded at you and took the kids.
You smiled gratefully before standing up and facing the man, your smile dropping.
“What the fuck are you doing here, Nathaniel?” You didn’t give him the chance to answer. “Were you stalking us?”
“What? No!” He shook his head. “That’s not even the point here! You didn’t tell our kid about me?”
“Are you fucking kidding me?” You scoffed. “She’s my kid. She’s Bucky’s kid. You lost the right to even see her when you walked out of our lives that day, so no, I didn’t tell her about you.” He opened his mouth to speak, but you didn’t let him. “Don’t ever come near any of us again or I’m filing a restraining order against you. Do you understand?”
“But–”
“I said,” you interrupted loudly. “Do you understand?”
“Y-yes.”
“Good.”
And with that, you walked away, your priority now comforting your family.
—
It has been an hour since the incident and Nari still hasn’t uttered a word, but her bruises have been treated.
You put Niko down for a nap in your and Bucky’s room, while he and Nari were in the latter’s room, watching a movie in an attempt to get the girl’s off of what happened.
“Dada?” Nari spoke once the movie was over. Bucky hummed, so she took it as an opportunity to speak again. “Is he really my dad?”
Bucky didn’t speak at first. Nari thought he didn’t want to talk about it and was about to apologize when Bucky knelt in front of her.
“He is your dad by blood, bubba,” he started. “But I’ll always be your dada. No matter what happens, no matter what they say. I’ll be your dada for as long as you want me to be. Remember that, alright, bub?”
“Okay, dada.”
“Come give dada a hug then,” he smiled softly, making Nari smile as well as she wrapped her arms around his neck.
They didn’t let go of each other until Bucky felt her snuggle into him even more, a telltale sign of her being sleepy.
“You sleepy, bub?”
“Uh-huh.”
Bucky then laid on Nari’s bed with her still in his arms and she finally fell asleep, cuddling with the bestest dad in the world.
Soooooo this entire monologue from Crowley’s last episode of the show was just cut entirely, huh. (x)
So, went on a spiral last night trying to piece together the full story of Mark Sheppard’s final episode now that we have this script. For anyone curious, here’s what I’ve been able to conclude/piece together:
1) TPTB didn’t confirm he would be killed off, but he knew he wouldn’t be coming back for S13. He’s talked often about how they started running out of ideas of what to do with his character since late Season 10. He felt he went from “the smartest character on the show to the dumbest” in two seasons.
2) At a Comic Con Copenhagen panel, he gave a short version of the story. He got the script for 12x23 and didn’t like it all at first. From what I could tell, it was a lot more focused on Fergus and Rowena. BUT him and Dabb had a “long conversation about the ending, what was gonna happen.” Mark said, “If you’re gonna do it, do it right…we created this story, this idea, and he wrote it and it was really good. And he out all the things that I wanted. And then we did it and shot it and it was a very good way to go. And then we cut all the stuff that I made.” He also talks about how one of the lines he wrote, the iconic “Even when I lose, I win” wasn’t used but ended being repurposed and reversed for one of AU!Kevin’s dying lines, “Even when I win, I lose.”
3) He got to tell the full story thanks to a panel at C2E2. Wayward Winchester included the full portion of the panel in his video, I made a transcript below:
Panelist: “I love, love, love the story you shot for your character’s last episode. Could you share that versus what the audience saw onscreen?”
Mark Sheppard: “Well, look…I mean. Fair play to Andrew Dabb. He’d written an endpiece, a placemaker endpiece [the rat getaway in 12x21.] He wasn’t quite sure I don’t think what he wanted to do with the end. He did the death in [Episode] 21, which didn’t really make a lot of sense since I don’t spark out…So it just sort of turned into this sort of very complicated thing.”
Mark: “And I already knew I was done…I’d already driven all my stuff from Canada, I didn’t have my apartment anymore. I was aware I wasn’t coming back for Season 13. It was the…situation that dare not speak its name. So, I said my love and goodbyes to everybody. I took my time, took a couple weeks to thank everybody that I knew. It wasn’t an event, it was a sort of…slow letting out of a balloon.”
“[Episode] 21 was [Episode] 21. I was like, ‘Are you gonna fix it?’. Said it’d make more sense to leave him dead there [instead of the rat getaway], 'much more of a shock.’ And he said 'No, no, no we have to get this right.’ And I said okay. And he sent me a script [for 12x23] and I said: 'Look. I love you and thank you for everything you’ve done but you know maybe we can focus in a little direction here.’ And I said, 'You know, I… the only thing…Crowley doesn’t care about Fergus and he doesn’t care about Rowena and he doesn’t care about any of that stuff. He never really did. He only cares about winning. He always cared about winning.’ And you know, he just constantly won.”
“And you know, there was a thing…I had a joke with Jeremy [Carver] for years that even if they wrote me losing in a situation, I was going to play it like it was my idea anyway. He started laughing. I was talking to Robbie Thompson [at the convention] today and I was going 'It doesn’t matter what you guys wrote for me, I always wrote it like - always played it like it was my idea.’ Like 'I always knew that this was gonna happen, like I knew they were going to get the drop on me.’ And so it was fun to play it that way.”
“So they rewrote the end and the end was written. And you know, Andrew did a really good job writing. There’s this HUGE speech in the Men of Letters and I’d asked him for a line that I wanted to put in. So when Rowena’s dead, [I’m like] 'Lucifer?….Funny I always thought it’d be me that killed her.’ And everyone was like 'You can’t, that’s awful, that’s terrible’ And I was like, 'But it’s absolutely correct.’ And they’re like, 'Yeah it is kind of absolutely correct. It makes sense.’ Rowena was never really a mother to Crowley. The thing that was the problem for Crowley was that it’s Fergus’s mother, not Crowley’s mother, and that’s always what gets so irritating about it. I’ve always played as 'Well everybody else has a mother, so why can’t I?’ and [Ruth] always played it rather brilliantly in that way.”
“They put in this huge, great speech that Andrew wrote about like…I’ve been trying to keep my job for so long I never realized how much I hated it. I think that was a bit personal for me.” Laughs. “But it was like…it was written very caustically in that way and I think Bob [Singer] deliberately designed the shot so that he could cut the middle out, containing the words, 'I just kept going on and winning and winning and winning. Never stopping, winning even when I lost. Even when I lose, I won.’ You know, never stop winning…and then I come back into the conclusion of the thing to them at the table.”
“And at the end when Lucifer is there. And I step up and I know that I’m the only answer in this way. He goes 'you know you took it personally and I was like 'I hate that, let’s just play it that out…yes you humiliated me. How the hell could Crowley be humiliated? I mean he has no…the guy was as deviant and odd as you could possibly be.”
[Sidenote: as a lot of us know, he had a lot of issues in general with the Lucifer vs. Crowley storyline and how it was written to make Crowley seem weak, humiliated, that he lost the upper hand i.e. that Crowley and the dog leash thing.]
Panelist: “He would flip everything as winning!”
Mark: “Exactly! Yeah. It didn’t make any difference so it was like okay I’ll let that go but it’s like…He goes, the line was 'You know, you’re going to lose.’ And my line was 'Funny you should say that.’ And then I say, 'Because even when I lose, I win.’ And I turned around to the boys and I said 'Goodbye Boys’ and then stabbed myself. Which is supposed to be the big shock moment…and so they cut it out. And I was like…hmm. Well that made it less fun than it would’ve been.” Panelist agrees. “So it was a little bit ehhhh…so I did a t-shirt in revenge and we raised plenty of money for charity.”
He is of course referring to the Stands shirt he did for charity with the cut phrase:
3) This script won in the auction by @spnscripthunt is a Production Draft. For anyone new to screenwriting, Robbie Thompson broke down the process before:
- Writer’s Draft
- Studio Draft
- Network Draft
- Production Draft (then different colored drafts for production revisions)
One line Mark came up with did make it air and was in this Production Draft (the line about Rowena’s death.) Script vs. what aired below:
There were also some lines and mentions of “winning” during his speech in the Bunker in both.
However, the infamous “Even when I lose, I win” line was neither in this Production Draft or the aired version. My best guess is that it was a Production Draft Revision. Here’s his final lines in both instead (the script focused more on his relationship with the boys, the aired version had the set-up for the line but skipped right over it clearly indicating it was cut.)
4) It’s hard to blame this all on Dabb, because he did write the scene and lines that Mark wanted and created a story they both agreed on. Mark mentioned Robert Singer was likely the one to cut it/direct it so the new lines could easily be cut.
It’s possible the monologue was cut because of the dark, almost suicidal nature of it all (thank you to all who tagged CWs for it.) But to cut out the lines about winning even he loses IS demoralizing and humiliating. It takes away any sense of dignity and pride both the character and actor was able to get in his final episode, just to make Lucifer seem more powerful.
5) The script also says “or is he?” in regards to Crowley being dead. This is also used in the script for both the Rowena and Castiel death reveals, who both come back in S13 (Misha’s return was definitely planned, Rowena/Ruth didn’t appear until 13x12.) It’s possible the show was planning on finding a way to bring Crowley/Mark back in some form, just not as a regular. And possibly not even in that season.
When Jim Michaels tried to comment publicly that maybe they hadn’t seen the last of Crowley yet though, this exchange happened:
Mark also stopped appearing at Creation-run cons that year, though he did appear at non-Creation conventions for Supernatural and of course general comic cons like C2E2.
Overall, it’s a BIG mess. Between this and the recent Kim Rhodes livestream on how she feel like there should’ve been a goodbye for Jody, there is definitely a running trend that the side characters always get anticlimactic and impersonal endings. Kim and Mark were not in as many episodes as Misha but have been on the show since S5. Yet Kim’s last episode was all about Claire and Kaia, since she had to be the emotional stand-in for Claire. Cas’s final scene was mostly about Dean. Crowley’s last episode was bookcased with Rowena, Kelly, Castiel, and Mary’s death/disappearance plus the introduction of Jack and the apocalypse world. Actors shouldn’t feel like villains for simply wanting a proper ending for their character, for both them and the SPN family. It’s not selfish to want that closure.
‘It was on the third* day of shooting that he first met Rupert Graves to discuss the physical side of their relationship over dinner** with James Ivory. The director instructed them*** in Edwardian practice: mutual masturbation was in; oral sex was out. Kissing was out, too; nevertheless, Ivory felt that the two men should kiss at the end to show the depth of their emotions. “Rupert and I were strangers,” so we ummed around the subject a bit, then I said, ‘I think they really go for it,’ and Rupert said, ‘so do I.’ That’s how we did it.”’ [X]
*As a warm-up, Maurice/Alec’s first encounter, the greenhouse deleted scene, was shot on Day 1
**Curry
***‘Instructed them’ debateably, if we compare this advice with some of what Oscar Wilde reputedly got up to: ‘Love is a sacrament that should be taken kneeling.’
i realised that one of my favourite scenes in merlin didn’t have any background music (probably because it wasn’t mastered due to it being, sadly, a deleted scene).
i decided to fix that.
just… trust me on this one, okay? (and please do not repost anywhere without credit. thus the watermark!)
In a scene which was cut from Dune, as they try to save the life of the Baron, Rabban asks, “will he live?” “Do you want him to?” the technician replies. Rabban leans in close. “If he dies, everyone you love dies.” See more here: http://youtu.be/5f_Q09w3pg8
Kurt: All right, why does some gangster owe you a favour?
Jane: I’ve been all over the world in the past two years. I’ve come across all kinds of unsavoury characters.
Kurt: Come across how?
Jane: Look, we’ll talk about all of this, once Reade, Zapata and Patterson are safe. All right?
Kurt: Damn right, we’ll talk about it.
Jane: Sometimes you need to just let go of control.
Kurt: Really? What, did the monks up on that mountain tell you that?
Jane: No. They told me to go home.
Kurt: Smart monks.
Jane: Okay, look, this is where Rich thinks they’re being held, and it’s a pretty big compound, so we should be able to infiltrate it without being detected.
Kurt: And that also makes it very hard to find them in a short amount of time. Look, I know the team would have come up with an escape plan already. So whatever our plan is, let’s try not to jam each other up.
Customs Guy:Silencio.‘I’m told there’s been rain in Brazil. You said this. Yes?
Jane: Well, is it a crime to discuss the weather in other countries?
Customs Guy: Three days ago, we discovered one of our customs officers was working with the CIA. After some conversation, he told us several phrases that American terrorists might use to attempt to cross our borders.
Kurt: We don’t know anything about that.
Customs Guy: (throws torture instruments on table and starts unwrapping them) Who do you work for? And what are you doing here?
Kurt: We’re ecotourists. We’re here to see the rainforests.
Customs Guy:(advancing on Kurt with a scary swirly tool) Who do you work for? And what are you doing here?
Kurt:(eye perilously close to being poked out) Please. We’re ecotourists. Only here to see the rainforests.
Jane:(yells something in Spanish)
Customs Guards:(all gasping/looking intimidated)
Customs Guy:(says something in Spanish to the other guards, who all leave the room) You know Alejandro Calderon?
Jane: He owes me a favour. I’d hate for you to be it.
Customs Guy:(backs away from Kurt and begins to leave) Excuse me. I need to make a call.
Jane: I bet you do.
Kurt:Who is Alejandro Calderon?
Jane: Someone you don’t want on your bad side if you live in South America. (reacting to Kurt’s expression) Relax, I told him I was married. I’ve been on the run for almost two years, Kurt. I’ve met a lot of people.
I said I’d try lightening up the deleted scene screencaps a bit. They’re not amazing - they’re so blue and washed out that with my limited skills, this is the best I can do! But at least they’re a little bit easier to see now (and yes, the ring is blurry, but capping it was Very Important for shipping reasons). No promises that the caps are in the right order, either. XD
Jeller Deleted Scene 1 - 3x01
Jane:You’re sure this is going to work?
Kurt:No. But Keaton says that his man at the border is very solid, so we get into customs line three, say the code phrase.
Jane: ‘I’m told there’s been rain in Brazil.’ That’s it?
What exactly is “too much” for a young audience? How do we possibly figure out what could be too sensitive to viewers of a movie or television show? I guess there isn’t any particular test to measure just how many people would find a certain piece of media offensive or triggering. As a company, business or even an individual, it is essential to keep in mind whether your content could have aspects…
What exactly is “too much” for a young audience? How do we possibly figure out what could be too sensitive to viewers of a movie or television show? I guess there isn’t any particular test to measure just how many people would find a certain piece of media offensive or triggering. As a company, business or even an individual, it is essential to keep in mind whether your content could have aspects…
