you were raised in comparison.
it wasn't always obvious (well. except for the times that it was), but you internalized it young. you had to eat what you didn't like, other people are going hungry, and you should be grateful. you had to suck it up and walk on the twisted ankle, it wasn't broken, you were just being a baby. you were never actually suffering, people obviously had it worse than you did.
you had a roof over your head - imagine! with the way you behaved, with how you talked back to your parents? you're lucky they didn't kick you out on your ass. they had friends who had to deal with that. hell, you have friends who had to deal with that. and how dare you imply your father isn't there for you - just because he doesn't ever actually talk to you and just because he's completely emotionally checked out of your life doesn't mean you're not fucking lucky. think about your cousins, who don't even get to speak to their dad. so what if yours has a mean streak; is aggressive and rude. at least you have a father to be rude to you.
you really think you're hurting? you were raised in a home! you had access to clean water! you never so much as came close to experiencing a real problem. sure, okay. you have this "mental illness" thing, but teenagers are always depressed, right. it's a phase, you'll move on with your life.
what do you mean you feel burnt out at work. what do you mean you mean you never "formed healthy coping mechanisms?" we raised you better than that. you were supposed to just shoulder through things. to hold yourself to high expectations. "burning out" is for people with real jobs and real stress. burnout is for people who have sick kids and people who have high-paying jobs and people who are actually experiencing something difficult. recently you almost cried because you couldn't find your fucking car keys. you just have lost your sense of gratitude, and honestly, we're kind of hurt. we tell you we love you, isn't that enough? if you want us to stick around, you need to be better about proving it. you need to shut up about how your mental health is ruined.
it could be worse! what if you were actually experiencing executive dysfunction. if you were really actually sick, would you even be able to look at things on the internet about it? you just spend too much time on webMD. you just like to freak yourself out and feel like you belong to something. you just like playing the victim. this is always how you have been - you've always been so fucking dramatic. you have no idea how good you have it - you're too fucking sensitive.
you were like, maybe too good of a kid. unwilling to make a real fuss. and the whole time - the little points, the little validations - they went unnoticed. it isn't that you were looking for love, specifically - more like you'd just wanted any one person to actually listen. that was all you'd really need. you just needed to be witnessed. it wasn't that you couldn't withstand the burden, but you did want to know that anyone was watching. these days, you are so accustomed to the idea of comparison - you don't even think you belong in your own communities. someone always fits better than you do. you're always the outlier. they made these places safe, and then you go in, and you are just not... quite the same way that would actually-fit.
you watch the little white ocean of your numbness lap at your ankles. the tide has been coming in for a while, you need to do something about it. what you want to do is take a nap. what you want to do is develop some kind of time machine - it's not like you want your life to stop, not completely, but it would really nice if you could just get everything to freeze, just for a little while, just until you're finished resting. but at least you're not the worst you've been. at least you have anything. you're so fucking lucky. do you have any concept of the amount of global suffering?
a little ant dies at the side of your kitchen sink. you look at its strange chitinous body and think - if you could just somehow convince yourself it is enough, it will finally be enough and you can be happy. no changes will have to be made. you just need to remember what you could lose. what is still precious to you.
you can't stop staring at the ant. you could be an ant instead of a person, that is how lucky you are. it's just - you didn't know the name of the ant, did you. it's just - ants spend their whole life working, and never complain. never pull the car over to weep.
it's just - when it died, it curled up into a tight little ball.
something kind of uncomfortable: you do that when you sleep.
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We'll never get a third Ritchieverse Holmes movie. But if we somehow did, this is what I like to think should happen.
I would absolutely love for the inciting incident to be that, since the reason Holmes faked his death was because he wanted to keep Watson and Mary safe, the reason he has returned from faking his death is because that backfired and Watson and Mary are very much not. Why aren't they safe, you ask? Well, because Moran is on the revenge trail. Typically, he didn't have much personal investment in the killing of his targets, but we all saw how absolutely furious he got when Watson nearly killed Moriarty and escaped with Holmes. Now Moriarty is dead, and Moran has no job, no purpose, no one in the world - nothing, save for anger and grief. He cannot kill Holmes, because he does not know Holmes still lives. But if Holmes took the life of the only person Moran ever cared about, then even if he's not around to suffer for it, he will do the same to him.
Except, naturally, Holmes is around to suffer for it, and this cues the ending scene of the movie where Holmes coyly reveals he's alive, and would pick up right from there. There would be action! There would be shenanigans! Holy hell there would be character drama! Watson and Mary are absolutely going to beat Holmes's ass within an inch of his life, but also Watson is so, so very glad to have him back... Mary's not forgiving him ever for what he put Watson through, but how can she - how can they - bring themselves to be fully angry when he went through this to the end in an attempt to ensure their happiness? Especially when, if one considers the reason he closed his eyes to be for Watson to be the last thing he saw if he died, Holmes wasn't even completely sure he'd successfully fake his death... And they can't just unpack that while sitting in a house somewhere talking about their feelings, because Moran and the remnants of Moriarty's wide-reaching organization are very hot on their heels.
How does the movie progress? Well, I'm not entirely sure. I would love for Moran to get betrayed by those he conspired with, and be forced to work with Holmes and Watson (and Mary, who is adamantly refusing to let these two do all this on their own when her life is as endangered as theirs) on some level, thus forcing everybody - including Moran - to actually talk to each other. I also want to show that Holmes is beginning to get tired of all this - he loves the adrenaline, he loves to exercise his genius, he hates being bored, but he's also tired of the people he cares about constantly being in danger because he knows he can't always protect them. He knows that, because of what happened to Irene.
How does the movie end? Well, I can certainly tell you that. As a significant portion of the fanbase and Jude Law himself will tell you, the Ritchieverse Holmes movies come off very, very strongly as romances. In most cases, I am not the sort of person who advocates for any given ship in a medium to be acknowledged as canon just because a lot of fans like it, especially since that can often lead to disastrous results... but Christ alive, these movies are leaning so ridiculously hard into Holmeswatson vibes that I can't imagine it was an accident. And, well, part of the reason I want Moran to figure so heavily into this movie is because I think there was quite a bit of potential exploration of what exactly his relationship was with Moriarty just in the few tidbits you saw of them together... perhaps through a few flashbacks sprinkled in after Moran confesses what they really were to each other. Because if there's one thing I love, it's parallels. Watson and Moran, the military veterans and crack shots who are so very attached to the often-difficult genius masterminds they love. Unlike the singly-devoted Moran, Watson's affections are torn, because he adores Mary with everything he is, and is constantly fighting himself and pretending he can give up Holmes for her even though he can't imagine a life without both of them in it - but he is no less devoted for it. In different ways, they both cannot see a way forward - Moran cannot without Moriarty, Watson cannot because he cannot choose. So, in terms of an ending, I want Moran not to have to be killed by our heroes, or die in some sacrifice, or take his own life. I want him to have to live, without taking revenge. To figure out some kind of life, now that he's been spit out by the Queen's Army, and has lost the new life he was given now. It's more interesting, and less cheap, especially if this movie serves to build up and add depth to his character. And as for Holmes and Watson, well, it's not 2009 or 2011 anymore, so what's to stop your loose action movie adaptation of century-old, now-public domain stories from just going ahead and having them admit they love each other? (Or, potentially, having Mary admit it for them, to one of them, because she is sick and tired of their bullshit?) Why not let them, after all this is over, finally, finally share a kiss?
And as for the epilogue, I think it would be super fun and endearing if it cuts to Watson and Mary finally moving into that country house in Sussex together. He and Mary love each other, they're happy, they'll do so very all right. Then they get a knock on the door to find that the old woman who lives in the house next door has come to bring them a housewarming gift.
Except it's not an old woman. It's Sherlock Holmes dressed as an old woman. He has gone into early retirement to keep bees, and he just so happens, by pure coincidence, to have bought the house next to theirs.
Watson and Mary are exasperated. Then they probably think it's really funny, while still being exasperated. And ultimately, what Watson needs to realize is that there is something in this world that is insistent upon keeping these three together. If all of them can put up with each other - as they have shown they can just manage to do, this whole movie - and if all of them care for each other - as they have shown they undoubtedly do, for this whole movie - then no matter what he was sure was the "correct" and "right" thing to do before, he does not, and has never had to choose. Holmes doesn't have to steal him away from Mary any more than Mary has to steal him away from Holmes, because the great lesson of the Ritchieverse Sherlock Holmes movies ought to be that sometimes, polyamory is the best solution. And they all live in Sussex together, and quibble incessantly, and remain there for the rest of their days.
P. S. The number one thing this movie is absolutely, positively not allowed to do is kill off Mary. I don't care if she dies offscreen in the books, these movies did not have so much of their character conflict be Watson's inability to choose between her and Holmes for that to conclude with the immensely cheap act of offing her - not to mention that that would mean killing the only remaining major female character left in the series, and that these movies are so far removed from the ACD canon anyway that they can literally do whatever they want.
P. P. S. I don't have anywhere else to put these since I'll certainly never finish an entire screenplay concept for this without help, so here are a few disconnected, inaccurate-screenplay-format snippets using this idea that I jotted down on my phone way, way, back. Enjoy?
~~~
Opening shot: pigeons.
It’s early morning, and a man sits on a bench with a small bag of birdseed. He takes a handful of it, and reaches out to them. They flock around him with enthusiasm, some perching on his arm and hand.
The pigeons know him, clearly. It is SEBASTIAN MORAN.
He turns to look over his shoulder.
Moran: Hey, Professor, do you -
He stops. There is no one beside him.
Something hardens in his face.
He continues sprinkling birdseed. But his movements are listless, and it is clear the act no longer brings him much joy.
~~~
Holmes: It appears that Moriarty’s death, while ultimately a public service to the human race, has unleashed a far greater and more unpredictable danger to you than I could have imagined.
Watson: A danger?
Holmes: Indeed. And so long as I was believed to be dead, I was sure you and Mary would be entirely safe from it.
Watson: What - ?
Holmes: But I am now very much aware that that isn’t so, and so I have returned.
Watson: What danger, Holmes?
Holmes: Sebastian Moran.
Watson: Sebastian Mor- What, Moriarty’s right-hand man?
Holmes: The very same.
Watson: But why would he come after us? His superior is dead, he hasn’t got any orders -
Holmes: This has absolutely nothing to do with orders, Watson, and everything to do with the precarious and emotional nature of the human condition.
Watson: For the love of God, Holmes, can you just explain -
Holmes: I mean to say that this is entirely personal. Moran did not just work for Moriarty, he cared for him. Though to what extent, I haven’t the slightest idea.
Watson: For Moriarty?
(A disbelieving chuckle.)
Watson: Delusional bastard. I can’t imagine Moriarty cared for a soul in the world.
Holmes: And he may not have. How fallible man is, hm?
Holmes: Nevertheless, I believe that the colonel is seeking revenge. And if he cannot get it on me, then he will not stop until he has slain everyone I have ever cared for.
Holmes: Thus, my return from the grave. But I’ve already said that, haven’t I?
~~~
Holmes: No. No more deaths. No more lives lost because of me.
Holmes: …Not after Irene.
~~~
Moran: You should have died like the dog you are.
Holmes: Perhaps I would have, if I hadn’t known that Moriarty’s dog still lived.
Holmes: I had - foolishly, perhaps - thought that were I to die, Watson and Mary would be safe. A life for a life - my life, for Moriarty’s. No more.
Holmes: But you weren’t content with that. Were you?
Holmes: You wouldn’t stop until you’d killed everyone that meant something to me, even though I wasn’t there to see it.
Holmes: What will you do, if you succeed? What will you have left? It’s not as if revenge will bring him back.
Moran: You’d do the same if you lost your bloody Watson, wouldn’t you?
(Holmes is, rarely, silent.)
Moran: …And I don’t know how to do anything else.
~~~
Moran: …You’re wrong.
Moran: Nobody was kind to me. Not until I met the professor.
Holmes: But of course. It behooves a smart man to take good care of his tools -
Moran: You don’t know anything! It was real, what we had!
Moran: …It was real. I know it was. Because he told me that he didn’t even want to like me, at first, let alone…
(He trails off, as if thinking better of it. But then he shakes his head with a bitter chuckle.)
Moran: …What’s the point? I’ll hang for all the murders I’ve done. Another felony won’t mean much.
Moran: I loved him. And you’re the reason he’s dead. So I’ll kill everyone you love, and then I’ll kill you, or I’ll die trying.
~~~
Okay, that's it. If for some reason you read this far, thanks for sticking around! And if you have any personal thoughts on a third Ritchieverse Holmes movie, I'd absolutely love to hear them. See ya!
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11 and 3 for nedport!
i got excited for a second and then i realised you picked number 3 and :(
...but fine. if you insist >:3
11. what are their first impressions of each other?
ned: oh god please not another one—
port: um who let in the street urchin??
but really, ned would be wary of portugal at first by all accounts. he's already got strong opinions on spain when they meet and this young nation can't handle another toni. he therefore plays it carefully and keeps his mouth shut around the iberian, cards close to his chest. port might be calm and lax on the outside, but ned can see there's more to him than meets the eye. he doesn't want to test him.
meanwhile, port probably looks at ned and is briefly pitiful of this other poor kid toni has dragged home with him, but is not too heavily invested in ned as an individual. still, he first sees ned and labels him quiet and timid. no threat. mild. just... there. he's just a little lost lamb trapped in the lair of an iberian wolf. coitadinho... (shame he couldn't see the future, huh!)
3. which one outlives the other and how do they cope (this hurt to write but...)
ned outlives port.
port is not too surprised as the times draws near and he feels his connection to his land becoming tenuous, weaker, frail... it starts with the grey hairs, the aches in his body that won't go away - that only get worse, rather than get better. it scares him, but he isn't the sort to say what's wrong. he doesn't want to burden anyone with worry. which is why, when ned realises what's happening - why port is quieter, more distant - he is sworn to secrecy.
not that that makes it easier for ned, of course. but he also knows that if their time is destined to become limited, then he will do what he can to keep port happy.
so, they'll go travelling. no explanation is given to anyone who asks beyond, 'we just thought it was time to have a break'. ned and port will revisit old haunts. they'll try new things while doing the things they've loved doing together for years - maybe even centuries. ned will look after port, and port will make sure ned knows exactly what his wishes are for when the time comes.
of course, port can't keep his condition a secrst forever. but ned helps him keep it for as long as he can. then, once the cat is out of the bag, port packs up and moves in with ned (after ned nags him about it for a while). they continue to live. ned does everything in his power to keep port comfortable, and to spend as much time as possible with him. years will go by. the hairs turns more grey, the bones become more brittle. but ned stays. and port will always he grateful.
when the times comes for ned to be on his own again, 'coping' does not come into it for a while. everything feels empty - his home, his life, his soul. he's lost. he's a wreck. he breaks things in roaring tantrums and stays in bed for days on end. really, port would be having a go at him if he were still around, telling him to pick himself up, to stop being so melodramatic (which would be rich coming from him!).
it's only when ned finds himself in the presence of others - toni, arthur - even luciano - that he can start to try and come to terms with it. they have to be there for each other. he can't get through it alone.
the wounds never fully heal. but every year, once a year, he'll take himself on a trip to a place that port loved or would have loved, and he'll find somewhere peaceful and beautiful to sit down and rest so that he can share it with him. because port will never truly leave him. he's always there, watching over ned. he's in every breeze, every sunset, every wave. port will be with him right to the end, and evetually, ned finds peace in that.
[ ship ask game here! ]
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