Question cause your Life D&D AU has given me Brainrot: Is Jimmy or Scott the druid because one of them HAS to be it’s Flower Husbands one of them has to be a Druid.

Also my Headcanons for this include Scar clearly having Unarmored Defense and Joel is either barbarian because man goes crazy on Red or Beastmaster Ranger for the dog army.

fellas is it gay to give a flower to your druid bro and then marry him and settle down into a beautiful flower field and you're a fighter so you learn maneuvers to protect him and he protects you and you're both boys?

--

also regarding your hcs i feel like scar's the type of guy to be INCREDIBLY TEMPED to take a level in barbarian for the unarmored defense and try to argue his exposed abs should give him advantage on all charisma checks HSJDJJD, but i do think he's def a college of Eloquence Bard lmao. Joel? Yes. 100% Beastmaster Ranger. He becomes a barbarian for last life lol

A Little Too Late

Summary: Years after the death of Ziva, a case comes up where Tony finds that she was keeping a secret from him.

AOL

FF.net

The pop music rings loudly in her car as she speeds around the corner, making a quick stop at the targeted house comes into sight. Spotting her brother's car parked in the driveway to the house, she pulls in behind him, hastily turns off the engine, and jumps out of the car. Running over an hour late she is surprised he hadn't called her.

Walking around the back of the semi, she slips into the back door. "Steve!" She calls. "Sorry I'm late, there was an accident off of Main, many people are late for work because of it. You wouldn't believe the number of emergency vehicles across the northbound, even part of the southbound was blocked!" Ashley continues, walking through the house. "Hello? Steve?" Stepping into the living room, she freezes, her hands shaking as they raise to her mouth. Less than a moment passes before she lets out a high-pitched scream. On the floor before her lays a man, her brother, with a single gunshot through his head.

***

Tony was becoming more and more like him every day. He didn't mean to, it just… Happened. He walks into the squad room with a coffee in his right hand and a folder in his left. Tossing the folder onto the desk across from him, he addresses his newest agent. "Do it again, O'Riley." He didn't see the jaw drop on the young man, instead taking a swig of his drink and turned towards his desk, sitting down to check his emails.

O'Riley looks over to McGee, the file in his hand. "Again?"

"Don't take it too hard, Josh. Everyone has to rewrite their case report at least twice." The senior field agent reassures the young man.

Tony laughs. "Don't lie to the boy, Timmy." He catches his friend's eye, "You never had to rewrite yours." O'Riley visibly deflates before him.

McGee smirks. "But you had to rewrite yours three times, ain't that right, boss?" Tony stiffens and glares at him. Out of the corner of his eye, the newest agent sighs in relief.

On the other side of the bullpen, Agent Johnson smiles, her hand folded in front of her. "Don't worry Josh, I also had to redo mine."

O'Riley opens his mouth to reply but is cut off by the phone on Tony's desk ringing.

"DiNozzo," McGee looks over to his boss, taking in the signs and putting things away. "Yeah, got it." Hanging up, he grabs his coffee and his bag. "Grab your gear."

McGee was the first one to leave his desk, closely followed by Johnson and last, O'Riley running after the team and into the elevator.

***

Tony walks into the living room of the semi, his mind elsewhere as he takes in the pictures of a man with his parents and sister, and even a few with his friends. The pictures reminding him of a certain Israeli woman, and the photos she had on display at her apartment before she packed it all up and left it behind. His heart still hurts from that day she told him she was going back to her birthplace, and still broken from the day he had left her behind there, all those years ago.

A flash from the camera brings Tony back to the present moment, blinking away the blindness. "Sorry Boss," the young agent apologies, lowering the camera. "I thought you saw m- I should have waited."

"Careful O'Riley, you've been an agent for two months now, you should know to keep an eye all around, and not just what's in front of you. Got it?" He nods, shifting on his feet before returning to the crime scene.

Tony looks around the scene, watching McGee dust for prints along the door. "Got anything, Tim?" He says quietly, his voice just above a whisper, crouching down to a level with his Senior Field Agent.

McGee hummed, taking a picture. "Just one." Taking the crime scene kit to dust around the evidence he has found. "Just this bloody print. Looks like there was a child involved, considering the size." He says, finding nothing to go along with the first print. "But other than this, it looks like a clean job, I don't see a single print anywhere near this door besides the bloody one."

"If there was a child involved, it wouldn't be one from this household, the guy has pictures of everyone except a child. Doesn't even look like he's married." He looks over at his longest coworker, both giving each other a confused look. "You positive that this is a child's fingerprint, McGoo?"

Rolling his eyes, the man answers. "I'm positive Tony, this finger is too small to be a woman's print. It has to be a child." McGee pulls out a swab to sample the blood on the doorframe. "And from the lack of prints. I'm determined that this might just be a professional hit." Tony didn't need to say anymore, knowing that the other man would dust for prints all over the house.

Tony looks around the room, particularly the floor. Something was missing. "McGee," The man looks up in question. "Did you already collect the shell?"

He shakes his head, lowering the brush. "There wasn't any, Tony, the guy must have policed his brass."

Tony nods, agreeing with his earlier assessment. "Johnson!" He calls for his final agent, who walks into the room with Palmer right behind her. The Medical Examiner gets straight to work by himself, getting assistance from Josh.

"Yes, boss?"

He steps over to the woman, out of McGee's way. "What did the witness have to say?"

Sandra clears her throat, flipping open her notebook. "Ashley Morgan, sister to our victim, Stephen Morgan, was supposed to have breakfast together, last heard from him when she had left her house at 7:30 this morning, through texting, got stuck in traffic and was over an hour late. At 9:30, she came through the backdoor to find him dead in the living room."

He nods to his agent before calling over to Palmer. "Jimmy, when did this guy die?"

"Uh," The medical examiner hesitates. "Death between two and three hours ago." Between seven and eight this morning.

"It matches up with the witness' statement, she last talked to her brother at 7:30, Palmer, must have been shortly after that." Making quick notes, Tony orders Sandra to help McGee to dust the house. Tony wanders around the small house checking for anything that might be out of place. It didn't take long before he stopped in front of O'Riley. "Josh, what seems odd about this situation?"

The young man looks around the room, taking notice of the furniture. "The house is clean?"

"Well, besides that, O'Riley."

"It doesn't look like there was a struggle."

"I can second that." Palmer jumps in.

Tony nods to the two. "Exactly. In what world would a man who has a gun pointed at him, not struggle to get away?"

"Well, actually boss, there are many-"

"That was a rhetorical question O'Riley, keep up!" He knew the boy was still getting used to how he handled the team, but being part of a co-op group with a different team didn't get him much in learning how Anthony DiNozzo lead his team. He would be lost if Gibbs hadn't retired. "You don't just let a stranger into your house, especially if they are armed, and not struggle. That could only mean one thing…" He leaves the end of his statement open for his probie. After a moment the boy was still silent. He jesters to Josh, hoping to give him a clue.

"Oh!" O'Riley straightens his back. "He knew his attacker!" It will take time, but the boy was growing into a decent investigator. Tony pinched the bridge of his nose, he had a lot of work to do with this Probie.

***

With his third cup of coffee in his hand, Tony walks into the squad room to see his team hard at work. This is what he likes to see, and what he guesses what Gibbs liked to see before he retired all those years ago. But it was coming onto lunchtime, and the team should have enough information on the victim. "What do you got?" He asks before taking a sip.

Around the bullpen, the team quickly gets to their feet, and the plasma screen switches on, McGee grabs the clicker, standing in the lineup beside their boss.

They start.

"Sergeant Stephen Morgan, age 27, lives with a roommate, Carl Romone, currently serving in Afghanistan and won't be back for another five months. Other than Carl, Stephen is single and lives alone."

"His only family is his younger sister, Ashley, who found him this morning after a brief conversation with him only minutes before his death. Both of his parents died in a car crash when he was 18, he stepped up and took care of his sister."

"Stephen lives off of his military salary as all the money they would have inherited went towards their mother's gambling debt."

Tony scans over the evidence in front of him, pondering. "Anything on the bloody print we found?"

O'Riley hit the clicker, pulling up the print with a question mark photo beside it. He hid his smirk. "We are still waiting on the results from Abby."

***

The ding of the bell indicates to him, he was in the basement, armed with a Caf-Pow, he and McGee walk into the Forensic lab. He walks to the beat of the music, his senior agent bobbing his head. "New music, Abs?" He asks the woman in the lab coat.

Abby spins around in her spot, her skirt flaring up as she twirled. "Uh, huh! It's my friends' band, Franken Matter!" She says loudly, probably going deaf after years of concerts.

"Franken-"

"-Matter?" The two men question, glancing over at one another, brows arching.

"Yah-huh!" The woman continues to talk to McGee about the twins.

Tony takes a pace around the room, watching as the machines worked on their assigned duties as the two catch up. The room has changed little in the last twenty-five years, but the upgraded equipment fawns over and treats like her children. Something that the woman never had, and will probably stay that way. Out of all the members of the team, McGee and Palmer were the only ones to really settle down and have a family. Maybe it was his biggest regret, but that ship sailed when the love of his life passed away in a house fire.

He blinks twice, focusing his mind back on the present. "Do you got anything, Abby?"

She twirls around, her gaze landing on him. "There wasn't much evidence to work on, as you guys said, the house was rather tidy for a murder to take place. The only fingerprints I got were from the victim, his sister, and our mystery child, so I'm just waiting on that. The blood is an ‘A' Positive, doesn't match Stephen Morgan or his sister."

"Did Jimmy retrieve the bullet?"

"Yes," Abby faces her computer screen, pulling up the squished bullet fragment. "But we have little to work with, if we had the shell case, I could have gotten more from it."

"But we don't..." He says with a frown.

"But we don't." She repeats. The room goes quiet for a minute before Tony hears the beeping of Abby's computer. He glances over to see ‘100% Match' written across the screen. With a couple of clicks of the keyboard, she comments. "This isn't right."

Realization dawned on him when he looks up at the screen. It couldn't possibly be correct, the person on the screen couldn't possibly exist.

Before him was a picture of a little girl with dark brown curly locks and emerald green eyes. Her name none other than Talia A. David.

HONOURABLE MENTION: Gru and Dru Impersonate Each Other from DESPICABLE ME 3 After a period of bonding, former Supervillain Gru (Steve Carell) and his bumbling estranged brother Dru (also Carell) decide to make a family dinner a little fun by dressing up as each other. Sure, this scene might be a little random, but it’s so enjoyable to watch these two try to imitate each other. I included this scene thanks to Carell’s impressive voice acting. Rarely do you hear a voice actor portray one character impersonating another character they also voice. To pull this off, they can’t sound like the later character, they must sound like former character trying to impersonate the later character. One perfect example is the scene in the Looney Toons Cartoon Rabbit Fire, when Bugs Bunny (Mel Blanc) and Daffy Duck (also Blanc) pretend to be each other to trick Elmer Fudd (Arthur Q. Bryan). When Bugs impersonates Daffy, you don’t hear Daffy’s voice. You hear Bugs doing his best Daffy impersonation. The same goes the other way. Carell pulls off the same affect with the characters. When Dru imitates Gru, it’s more innocent compared to Gru’s snarkier imitation of Dru. Such is a challenging task for a voice actor, and Carell pulls it off with graces. The Aging Montage from A QUIET PASSION This brilliant montage starts with each member of the Dickenson clan sitting in front of the camera like they’re posing for a portrait. When the camera closes in on Emily Dickenson (Emma Bell as a teen, Cynthia Nixon as an adult) and her family, they age right in front of our eyes. Director Terrence Davies is not known for using special effects, but the way this film flawlessly ages up the characters from one actor to another is breathtaking. 10) Wonder Woman Enters No Man’s Land from WONDER WOMAN As if I need further explanation. It’s Wonder Woman strutting in the middle of a battle field! And she’s dodging bullets with her shield and bracelets! And she’s kicking German soldier’s asses! All to the tune of her awesome theme song (courtesy of composer Rupert Gregson-Williams). Of course, it wouldn’t have worked without Gal Gadot’s performance as Wonder Woman. Not only does she give off the presence of a true warrior, but you can feel the conviction as DC’s greatest heroine steps into battle, ready to defend the greater good. 9) The NASCAR Heist from LOGAN LUCKY Steven Soderbergh is a maestro when it comes to filming a heist scene. Watching a Heist unfold in Ocean’s Eleven and the sequels were always a blast to watch. He proves he still has the moves with Logan Lucky, where he brings a blue-collar spin to the tropes. This time, the masterminds are the unlucky Logan brothers (Channing Tatum and Adam Driver) who plot a heist on NASCAR with the help of demolitions expert Joe Bang (Daniel Craig). Of course, they must break Joe out of prison to accomplish this goal. And it must be done quickly so Jimmy (Tatum) can be on time for his little girl’s beauty pageant. So not only do we see a heist unfold, but also a prison break, and a riot to boot. It’s just as glorious as the Heists in the Ocean’s movies. There are also a lot of funny moments surrounding this sequence, from Clyde’s (Driver) prosthetic arm getting stuck in a tub to Joe stopping a heist to explain the science of using gummy bears to make a bomb. 8) That Plot Twist from SPIDER-MAN: HOMECOMING To me, what made Spider-Man so special was Peter Parker’s struggles to balance his personal life with his superhero life. He had enough problems being bullied at school and having money troubles at home, but getting super powers only added complications to his life. Sure, Peter earns the glory of beating up bad guys as Spider-Man, but it comes at the expense of letting people down in his personal life. It made matters worst when those dangers found their way to his doorstep. Case in point: this plot twist. WARNING: SPOILERS AHEAD Peter Parker’s (Tom Holland) second life as Spider-Man has taken its toll on his social life, making it near impossible to socialize with Liz (Laura Harrier). Despite missing multiple events, Liz finally gives him a chance when she becomes his date for the homecoming dance. Just when everything’s coming up Parker, his joy comes crashing down when he finds out Liz’s father is Adrian Toombs, aka the Vulture (Michael Keaton). Now Parker’s faced with a dilemma; go through with his date and let Toombs get away with his heist or stop Toombs and ruin Liz’s life. When Marvel movies were criticized for being too predictable, this plot twist took everyone by surprise. I was at a preview night for this movie, and never have I heard an audience sound more shocked by a twist in my life. 7) The Opening Bank Robbery from BABY DRIVER Of course, we can’t talk about the best scenes from 2017 without mentioning the years’ best car chase. From the opening scene, we witness the precision Baby (Ansel Elgort) puts into his driving as he helps bank robbers (Jon Bernthal, Jon Hamm and Eliza Gonzalez) evade police while listening to John Spencer Blue Explosions’ Bellbottoms. It’s always fun to watch a heist unfold in movies, but this car chase is a sight to behold. This scene plays more like a musical number the way the car sways gracefully in tune to the song. And the way that car swerves around that tight alleyway is a beauty. 6) All the Bomb Disarming Scenes from LAND OF MINE These are among the most intense scenes of the year. You can’t help but be on the edge of your seat while young German POWs try to diffuse millions of landmines on a beach. Yes, they’re Nazis, but they’re also frightened kids. They all dream of going home, yet they are stuck in a village that despises them. You sit there with dread knowing that one wrong move and Kaboom! These kids have to maintain a steady hand, but many of them are fidgety from terror. You are always anticipating an explosion, yet every Boom comes as a shock in this movie. 5) Run Rabbit Run from GET OUT Is it just me or does easy listening Rock N’ Roll music make horror films more unsettling? Notice how creepy Robert & Johnny’s We Belong Together sounds in Christine, as if it’s emphasizing the car’s obsession with its owner. And then there’s the infamous X-Files episode “Home”, when the sound of Johnny Mathis’ Wonderful Wonderful warned of the mutant monster’s oncoming attack. What makes these innocent sounding songs work so well in moments of terror? One reason is how the director plays on the irony of the upbeat music playing over a terrifying scene, as if to taunt the heroes. Another reason is how the lyrics an unintentionally further the tone of the film, as indicated by the former. A most recent example is how director Jordan Peele uses Flanagan & Allen’s Run, Rabbit, run in the opening scene of Get Out. First, the chorus is almost warning innocent bystander Dre (Keith Stanfield) of oncoming danger. Second, the uppity tune is as unassuming as the suburban environment, adding more suspicion to the world around Dre. Finally, it introduces the reoccurring theme of running which includes the creepy scene of the Armitage’s groundskeeper Walter (Marcus Henderson) randomly running around at night. And I haven’t even started on the brilliance of how the film was shot. Shot in one take, Peele has the camera circle around Stanfield as he walks alone at night (never a good idea in horror movies). And then we see a white car U-turn right behind him and follow him and you know the shit’s about to hit the fan. Then the camera circles around him, we realize the car’s door opens and out of nowhere, a man in night’s armor knocks him out and drags him into the car. This scene is a lesson on how to build suspense. There’s also a satirical element in how it takes the stereotype of white people’s fear of black neighborhoods and turns it on its head. 4) The Opening Fight Scene from THE VILLAINESS and the Stairway Fight Scene from ATOMIC BLONDE The reason I put these two together is they share a theme of female assassins fighting multiple killers within a confined area. And they are both shot in one take. What separates them is how they are filmed; one done with stylized glamour and the other with gritty realism. Let’s start with the Korean action film and learn how to start an action movie. This Korean action film hits the ground running with our anti-heroine Sook-Hee (Ok-bin Kim) going John Wick on a group of gangsters. Facing off armed and sword-wielding assassins, She shots and slices across a seedy alleyway through a hallway. All shot from Sook-Hee’s point of view. That’s nothing compared to when they take the fight to the gym. In an environment surrounded by mirrors, cinematographer Jung-hun Park deserves credit for keeping the camera out of sight. Then in a moment of master filmmaking, we see Sook-Hee’s POV as her head smashes into a mirror and then the camera switches to a third person perspective. How they managed to pull this off is a miracle. While director Byung-gil Jung was looking to impress through camera work, Director David Leitch was looking to impress through choreography with Atomic Blonde. While trying to transport key witness Spyglass (Eddie Marsan), MI6 Agent Lorraine Broughton (Charlize Theron) finds herself ambushed by two KGB agents. And so, commences a brawl that leave all battered, bloody and exhausted. But just when it seems like Broughton is done, along comes more Agents to open fire on her. The camera follows Theron and the villains as they try to shoot at each other, throw each other down the stair and pummel each other to bloody pulps. It offers a more realistic portrayal of brawls. In most action films, the hero takes down thugs with ease. But like the Hallway scene from Daredevil, when henchmen get knocked down, they get back up and deliver their own hard blows. This not only humanizes the protagonist, but makes the action more gripping. 3) Remember Me from COCO Okay, it’s more of a song than a scene. But this song is special in how its meaning changes throughout the film. Remember Me is the most famous song of Miguel (Anthony Gonzalez)’s late idol Ernesto De La Cruz (Benjamin Bratt). Trapped in a family with a draconian “no-music” rule, the song embodies Miguel’s passion for music and his longing for escape. But as the spirit realm reveals the downsides of a music career, the song’s meaning changes in Miguel’s mind. By the end of the film, the song showcases music’s power to connect loved ones. It also serves the film’s theme of the importance of remembering loved ones after they’re gone. On the lighter side, the song was also used to make fun of overplayed songs like Disney’s own Let it go.[1] 2) The First Rehearsal from A LONG TIME RUNNING In the first day of rehearsal for the Tragically Hip’s final concert, late singer Gord Downie returns from cancer treatment bearded and frail. From the recorded footage, you can see the rest of the band unsure of what to do. And then guitarist Paul Langlois begins the first notes of Escape is At Hand for the Travelling Man, and the band follows suit. In this moment, we watch Downie in suspense, waiting to see if he’ll have the strength to go on. But then he sings the first lyrics, he slowly reveals the charismatic front man Canada has grown to love. While we already know the Tragically Hip final concert goes off across Canada without a hitch, this documentary still has us in suspense in this moment. This moment feels like a moment of triumph for Downie, who is using his last ounce of strength for his last hurrah. With the recent passing of this extraordinary front man, this scene has more weight to it. 1) The Ending from Dunkirk No film ending has left more of an impact than this haunting, beautiful conclusion to the year’s best war movie, Dunkirk. SPOILERS AHEAD: After spending nearly two hours on the edge of our seats, we are finally relieved to see the 300,000 soldiers finally rescued from Dunkirk. In this moment, Zimmer finally breaks the cycle of intensity to deliver a beautiful melody of triumph. To the soundtrack of a Winston Churchill speech, we are treated to a series of haunting images, from Commander Bolton (Kenneth Branagh) staying behind while his fellow men leave to a newspaper article declaring George (Barry Keoghan) a hero. But none compare to the conclusion of Farrier’s (Tom Hardy) storyline. There’s something awe inspiring about the image of an airplane slowly landing on a beach during sunset. Add Zimmer’s music and it almost brings a tear to your eyes. There’s also the image of the heroic pilot standing alone as he sets his plane on fire. Add the fact that not only does he have no way to get home, but he ends up captured by German soldiers and this scene stays with you forever. [1] Which was written by Robert Lopez and Kristen Anderson-Lopez, who also wrote Remember Me.