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margridarnauds · 5 years

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Director's Cut: Paradise Lost?

Thanks! I know I mentioned it before, but I’m really excited to talk about this one!

Paradise Lost

My newest child, whom I love even though I have no idea how I’m going to feel about it in a couple of months.

The full backstory to it is that me and @janetcarter were talking Terra Nova, as we are wont to do, since we have our own batshit insane version of that show that only really makes sense to us. (It involves bondage dinosaurs, authoritarian regimes, oppressed Americans, spray bottles, 1789, and about 867% more gay than the original show could have possibly conceived of.) And they’ve been rewatching it, so they’ve been kind of liveblogging it to me, and we were discussing Taylor being an authoritarian bag of dicks again. (This is an ongoing conversation; it’s great.)

And they made the mistake of saying this:

And it eventually led to me doing a half-mad rant that would form the skeleton of Paradise Lost. In the annotations, see the original text in italics VS the final text.

“YEP.

“DIRTY WORK.”

“THERE’S NO OTHER WAY I CAN INTERPRET THAT ONE” “MAYBE SHE DOESN’T KNOW THE FULL DETAILS ABOUT PHILBRICK BUT YOU CAN BET YOUR ASS SHE KNOWS *SOMETHING*”

And, from there on, it was all Paradise Lost. I ended up copying and pasting those messages in a GDocs file, edited it, added some description and a few plot points, and within a day I had a one-shot.

So, I accidentally wrote a one-shot out in a Tumblr pm and I was just like, “You know what? Fuck it. I need to write a one-shot out of this. My productivity’s been low recently, anyway. Merry Christmas, Avery, hohoho. Have some angst.”

It was actually really exciting, in a sense, because this is a totally different setting than I’ve been working with for the last year and it was a chance to expand my horizons, even though, as has been HELPFULLY pointed out to me, it’s still set in the past. Just…millions of years ago as opposed to just hundreds. I played myself there.

(Annotations under cut)

Taylor’s kid talks when he’s drunk.

Pretty much the first new sentence that I knew I was going to include. I really like the idea of Mira addressing Lucas mainly as “Taylor’s kid,” like, despite him being a pretentious little prick who thinks he’s a genius, she still views him as a whiny kid.

It’s something they put up with for the sake of the mission, he comes in, gives them their marching orders, and takes a bottle or two of moonshine, the pink-purple liquid spilling across his lips along with the stories.

The fruit they come from is called “Frut” and it’s an ongoing joke between me, Avery, and @elluka, so it only made sense for me to include it here as an in-joke. Lucas loves that sweet frut juice.

Also: It is 100% canon that they make alcohol from it. I ended up having to look up what dragonfruit juice looks like to make sure this would be as authentic as possible.

Not that she cares enough to make sense of the stuff, to Mira they’re all the same as those calculations he draws out on the rocks in bold white chalk, rambling on and on.

Most of the others, they’re smart enough to avoid him, they’ve been out here long enough to know a Slasher in the woods when they see one. So, that means Mira’s the one to keep him company, giving him another when his stock runs out, praying that there’s enough left over to keep up morale, because that’s always a problem in a hellpit like this.

People get lonely, start thinking about the past, wanting things that they can’t have. The alcohol, even if it’s weak compared to the real stuff, helps them drown it out for a little while, though she doesn’t take it.

Sadly enough, we get so little Sixer development that we don’t really know what morale’s like in-camp, the show’s too busy telling us that these are Bad People because they oppose God Emperor Taylor, but I would suspect that, given that unlike the colony, they only ever intended to be here temporarily, it would have to be pretty miserable. How long were they told it would be? A couple of months, a year? After all the years it would be, I can only imagine the homesickness from some or the resignation from others.

Tl;dr: Yeah, I suspect they would be bargaining with Boylan for some of that frut juice or they have a still in-camp, though it probably has to take a backburner to more important things like medicine and food.

Instead, she keeps Sienna’s face in her head at all times, wrapping herself around it, thinking of her bright smile as she’d walk through the door, dropping the raggedy toy that Mira’d got her after a mission as she ran to greet her. (She tries to think of whether it was a T-Rex with the faded red fabric and the drooping limbs with the stuffing worn out of them or a spinosaurus, and when she can’t, she feels the need to get out of this place and back into the real world like a jolt in her brain.)

The reference to Sienna’s toy came in fairly late, but I actually really liked it, because (1) It adds that worldbuilding as far as Mira’s economic situation and (2) It reminds me of a bit from the original script where Terra Nova was HUGE, so of course dinosaurs would be a big thing now, and there’s a certain irony to Mira being sent to destroy something that her daughter loves so much in order to give them a better life. Also, I’d just seen a review for various spinosaurus plushies, so I might have been inspired.

It’s also really important that she refers to 2149 as “the real world,” as her way of distancing herself from whatever she does in Terra Nova, as well as distancing herself from Wash and her feelings for her. “This isn’t real, this is a job, it’s not the real world, it’s an alternative timeline.”

This time, there wouldn’t be another time. She’d get the job done, get home, and give Sienna the life that she deserved. And she doesn’t give a damn about what she has to do to get it. That’s what she tells herself, and it’s what she’ll believe.

One of the things that I really admire about Mira is how FOCUSED she is. That’s something that can be both a major pro, since it means that she’s very driven to get her goals, but it also means that she can be harsh when she feels like other people are falling behind and not focusing, even, say, to a young child like Leah Marcos.

Until then, she’d keep giving Lucas Taylor the moonshine, quietly hoping he’d choke on it, until he wound up drooling on the floor before going off to brood in a cave for the next six months.

In case no one can tell the level of respect I have for Lucas Taylor, Boy Genius.

Alright, but judging from Mira’s interactions with him, she is clearly deeply unnerved, and even though his calculations are necessary for getting her back home…well, if he chokes, it’s not really HER fault. It’s this terrible situation where she’s stuck with him even as she’s clearly scared by him and would probably want him dead under any other circumstances.

“You know what? Those people-I-I feel sorry for them! They’ll never know the truth about the Great Nathaniel Taylor,” he raises his arm suddenly, as if he was trying to give a clumsy toast, spilling moonshine everywhere.

“Seriously, WHY THE HELL wouldn’t Lucas at least tell the Sixers? He knows that to the colony, it’s The Great Nathaniel Taylor, but the Sixers don’t have any stake there”

Uh huh. Daddy Issues story #326 - Been there, done that, she thinks as she wipes some of the sticky liquid off of her cheek.

This was honestly one of my favorite lines to write. One of the things that I mentioned to Avery while I was live-blogging writing this is how much I honestly LOVE Mira’s POV, given how incredibly snarky she is. It’s like she’s aware of what show she’s a part of and she’s dedicated herself to ripping it apart.

I’m so used to working with viewpoint characters who were born centuries ago it was honestly a bit refreshing, as much as I love Lazare “Javert was busy so they booked me instead” de Peyrol and Solène “Women’s motherfucking March on Versailles” Mazurier. Mira is just so fundamentally DIFFERENT, being very blunt and no-nonsense as well as the aforementioned snarkiness, that she was really a treat to work with.

The way the kid talks, you’d almost think that this kind of thing was unusual . They were all soldier’s kids, these days. They’d all had to do what they had to to survive, and not all of them had mommy and daddy propping them up through the early years, either. Going from home to home, place to place, hoping that a bomb wouldn’t explode over their heads, holding a gun in their hand from the first time they could salvage one.

“Lucas was there, and in between crying about his daddy issues…why wouldn’t he expose Taylor to the world?”

It’s always been a pity to me that we really didn’t get all that much backstory development for 2149, except for that it’s a Very Bad Place, pollution, wars, etc., so it was a bit of fun trying to imagine what Mira’s past might have looked like given she’s obviously not as privileged as the Shannons or the Taylors, the former of whom are definitely INSANELY privileged. I have to think of when Taylor’s doing his whole “I survived 118 days in the wilderness” thing and Mira snaps back, “Yeah, we’re going on 1000.” There’s this…edge to her, and it takes a lot to impress her, and I have to think it’s because she’s survived so much that there’s really little that can surprise her.

She makes a non-committal sound in response.

“You don’t believe me, do you? Nobody else does, but you see -” Lucas laughs as he leans forward, and Mira wonders if he’s really lost it this time and what to tell Phoenix Group if their golden boy’s finally cracked under the pressure. “I was there. When my father killed him. And now-Now he wants. To kill me. I know everything, about how General Philbrick tried to get my father to step down, and my father killed him as if he was some carno that’d gotten lose. He buried him under Pilgrim’s Tree, he buried him there and let it rot, but-” Lucas smiles, sharp and predatory, and it hits Mira in the gut that he believes this “He couldn’t kill me. I know the truth.”

She eyes him as he is, trying to run it through her brain. Taylor’s a son of a bitch, but not a murderer. As if he doesn’t notice, he goes on, slamming down his bottle with a dramatic flourish as he spreads his arms out wide, “The great Taylor family tragedy-The mad king, the exiled prince, and, as always, no one listens to the oracle. But it’s all here,” he taps his head, “It’s all right in here. Don’t believe me?” He says, with the smug self-confidence that makes Mira want to punch his teeth out, even smugger with the alcohol. “See for yourself. Remember the name: Richard Philbrick.”

“'Don’t believe me? See for yourself.’ Lucas would say, with that smug self confidence that makes Mira want to punch his teeth out, settling instead for ignoring it.

I really, really hate writing Lucas, because it feels like no one would ever say this, but then I remember that he described his relationship with his father as “A Shakespearian drama that borders on Greek tragedy.” Like a pretentious douche who strings together important-sounding words. But, I do kind of like the idea of him treating himself and his father as just…players in a larger game.

Mira finds herself thinking of it long after he’s back to drooling on the floor, with a hell of a hangover coming in the morning. The kid’s been loose in the wild for too long, everyone knows it. It’s like playing with a tiger to get anything out of him, and most of the time, he speaks in equations, not words, as he holds his brilliance over everyone else’s head. God knows what goes on in his mind.

“And at first Mira wouldn’t believe it, because Lucas is demonstrably unstable + would make up ANYTHING to discredit his father, but as time goes on it makes more sense. And, after all, Philbrick has dropped off the grid”

The line about equations, not words is exactly how I feel whenever he appears on screen and the rest of the characters have to pretend that the words he’s piecing together actually make sense.

And he hates his father. Not that you need to be a genius to know that one. He’d say anything about him, so long as it’d rain on Taylor’s little “big bright beautiful tomorrow” parade. Taylor’s an optimist, always going on about that bright new future for everyone. Peace, love, the American way, all that bullshit. Murdering someone-It’s not his MO. There’s nothing in the three inches-tall dossier they handed off to her the week before she went through Hope Plaza that’d say that.

I had to get “There’s a Big, Bright, Beautiful Tomorrow” stuck in my head for this.

She turns in her hammock, watching the tops of the trees sway gently in the wind through the little netted opening that’s as close as she’s got to a window, as a pteranodon flies across the moon. There are times she could almost get to like this place. She thinks of Sienna and frowns. Almost.

You will never know how pissed I am that we never got to see “Mira’s Lair” as Taylor calls it. I think that they would have to have some form of netting to keep out the mosquitoes and any other creepy crawlies, but yet again, the worldbuilding was shit there and I’m sad.

(She remembers the first time she’d seen the moon, without the pollution there to cover it up or a million lights to dim it, white and gleaming and so big, Wash’s arm, strong and warm, around her as they’d made their way to the colony.)

The kid’s lying, she tells herself, there’s no point in taking the bait.

In the morning, he’s back to scrawling more equations on rocks, and she’s back to taking care of her colony. That should be it.

It isn’t.

It sits there in the back of her mind, buzzing like a little mosquito that she can’t quite swat. She hates that about the kid, how he can get under her skin, make her think.

Taylor as a murderer? It doesn’t fit with that squeaky-clean, messiah complex image he’s tried to work up. Not that he’d be the first. Everyone has their demons, and God knows what’s underneath that benevolent dictator image. But if he was, then…

If he was, then Wash is involved, too. But of course she can’t say that, because that would be admitting it to herself.

I have to think that given the amount of corruption in 2149, Taylor being a bitch wouldn’t be a surprise, and that’s something I tried to show, but that it doesn’t fit HIM (and, more importantly, Mira’s still trying to protect Wash in her mind.)

She ignores it, and ignores it, but it’s still there, in the back of her mind, and finally, she gives in.

“She ignores it, and ignores it, but it’s still there, in the back of her mind”

Is Taylor really capable of that?

“Is Taylor capable of that?”

So she checks. Still being in contact with 2149 has its perks, and she doesn’t have to run that kind of thing by Taylor (convenient, the voice whispers in her ear, that he controls the access to the outside world. She’d always thought it was so no one decided to get stuck on something dangerous like “democracy” or “basic human rights,” but it’d be useful as Hell if he was keeping something a secret.)

“And keep in mind: The Sixers can CONTACT THE OUTSIDE WORLD AND GET THAT INFO”

Philbrick’s missing they say, but there are holes in the record. Missing in South America? It’s the new “went on a long vacation and never came back.” And even if she’s not out there writing equations on rocks, she’s not stupid. Stupid gets you killed, where Mira’s from. Her employers play the evasion game, remind her what she has to lose if she presses, and she folds. Officially. But she knows one thing: Richard Philbrick’s dead, and wherever he is, it’s not South America.

So she checks. Philbrick’s missing they say, but there are all those little holes.”

Honestly, I hate writing any kind of detective work, because it all feels like a reach, so this was a hard section to write. But also absolutely necessary.

Boylan seems to know everything that goes on in the colony, for the right price, and she corners him one day after they’ve just gotten ahold of some medical supplies.

Thank God for Boylan providing the plot-convenient information. Or not providing it, as the case may be. He actually wasn’t planned, but when I was writing it, it felt like I needed more between the web search and Mira making her realization, so Boylan got to make an appearance. Yay, Boylan.

He just shakes his head, “Isn’t enough money in the world to make me tell you that.”

You know it’s bad when Boylan’s not willing to haggle for information. You know, it’s sad when you think of it: Boylan guarded Taylor’s secret faithfully for years, and only gave it away by accident…because he was tortured by the man he’d once considered a friend. Taylor deserved all the fallback from that one.

“You and he used to be old war buddies, now you can’t stand each other. So what happened?” She tilts her head as she stares him down, the way she knows makes her people stand down when they’re being stubborn.

He just shakes his head head again, walking away, and that’s all the confirmation she needs that something’s up.

Philbrick’s disappearance.

Taylor turning on his own kid.

Taylor turning on Boylan.

It all starts to make sense.

But there’s one thing left, one thing she needs: Proof.

The next time Lucas shows up, she glares at him, “The body. Where is it?”

He smirks in response and takes her to Pilgrim’s Tree.

I really debated including this section, because it seems to go against canon, but I couldn’t imagine anything LESS than that convincing Mira, when she knows that the body’s there.

That’s the thing with secrets: They never stay buried, especially if you leave someone alive to tell the tale.

“The thing with secrets is that they NEVER stay secret long” - Literally the first line of the rant that kicked this off.

And the body of a man, missing a limb in just the right place, well, that tells a story all on its own. There’s no point doing anything with it, when all they have’s the word of Taylor’s unstable son and a corpse against a legend. Better to put him back in the ground and wait for when it can be useful. As they cover the body again, spreading dead leaves across the upturned soil so it looks undisturbed, Mira feels her gut twist.

This was my haphazard attempt at keeping things consistent with canon, as much as it could be.

It’s never been personal between her and Taylor. It’s just a job, just like it always was (she tells herself as she thinks of trusting dark eyes sparked by the firelight as Wash sat opposite her, stretching a black hairband absently between her fingers, her black hair loose around her shoulders. That night, she’d forgotten her mission for a moment. Just a moment, but it was enough.)

“And slowly, but surely, things make sense. And honestly, Mira’s horrified, because it was never PERSONAL between her and Taylor. It was a job (she tells herself as she thinks of trusting dark eyes by the firelight).”

It doesn’t really make sense for MIra to have that undercurrent of bitterness that she has towards Taylor in canon; my girl’s a mercenary at nature, I can’t see her taking it personally. But this? Was honestly the first time Mira’s character clicked for me.

Also Wash + her hairband is one of my favorite things, in no part because of the 1789 crossover meaning that she and Laz get to bond over their ponytails. As is Wash sans hairband, because I’m gay. And imagining Wash’s younger, idealistic self honestly hurts, because Mira’s betrayal took so much of that from her.

She knows why she didn’t want to believe it: For Taylor to be capable of it, that means that everything Wash told her, all that bullshit about a better future, is a lie. Wash is always there by Taylor’s side, saying “How high?” even before he says “Jump.” (He doesn’t deserve it, she thinks; if she was with them, she’d be raking in a solid 2 or 3 figures more as a medic alone.) There’s no way she doesn’t know.

“And maybe she doesn’t want to believe it because for Taylor to be capable of it, that means that EVERYTHING Wash told her, about a better future, is a lie. Wash is as complicit as Taylor, she’s always there by his side, there’s no way she doesn’t know.

Also, props to Mira for STILL thinking about how much Taylor doesn’t deserve Wash even as she’s realizing that Wash is complicit in human rights violations.

She’s never been one for the new, better future that Taylor goes on about, about second chances and fresh starts, she has to spend her time on solid ground with what they have now rather than chasing after rainbows and unicorns. But when Wash talked about it, hope in her eyes, Mira’d almost…

And as it all comes together Mira feels a little bit of her heart (which is already mostly hardened, after years of war, years of eat or be eaten only a few inches of red pulsing muscle remain, and it’s for her daughter and Wash) calcify.

And as it all comes together Mira feels a little bit of her heart (which is already mostly calcified, years of war, years of eat or be eaten hardening it, only a few inches of red pulsing muscle remain, and it’s for her daughter and Wash) calcify.

This is one of the bits that remained virtually unchanged from concept to final product, mainly because I really, really liked it, and it’s probably the reason I ultimately ended up writing it down in the first place.

“Still doing Taylor’s dirty work?” She’ll ask, several years later, as Wash looks up at her in-Hatred? Anger? Surprise? Mira blames the smudged black eyeliner for hiding her eyes.

‘Still doing Taylor’s dirty work?’ I know the truth now, is what she’s really saying, I’m not naive anymore.”

Not that it matters. Not anymore.

She’s trying to say that it doesn’t matter what Wash thinks and that she’s over it, but she isn’t. She was still hoping, on some level, for Wash to say something. But then she doesn’t, and so Mira uses her as leverage for what she wants, telling herself that it doesn’t matter because it’s all for the mission, anyway.

I know the truth now, is what she’s really saying, I’m not naive anymore.

I know.

And somehow, it doesn’t feel as good as she thought it would.

This line was the only thing I could think of to end it on, even as I didn’t like it overly much, but I wanted it to be a very bittersweet at best ending from Mira’s perspective. She’s broken free of the lies Taylor told, at least she thinks so, she’s brought Wash down a peg or two, but it can’t be a victory because she really didn’t get what she really wanted, which was for Wash to renounce Taylor and jump in her arms.

My other alternate title was “Prometheus” [which I discarded because (1) It was Lucas levels of pretentious and (2) it centered Lucas rather than Mira], and I feel like both of the titles kind of encapsulates the idea there: You get the knowledge you want, but at what cost?

#long post #my writing #fallenidol-453

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