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Transcript of a;sldkfj;alskdfj;aljksdf;alsdjkfalkjslfkjds

Hypovolemic Shock
Symptoms
Anxious o/ agitated
pale
cold sweats
confuzed
weak
loss of o/ wavering conciousness
rapid/irregular breathing
Feel cold
rapid heartbeat, weak pulse
nausea
Thoma's Symptoms
anxious
pale, cool skin
cold sweats
confused
weak
hard to stay fully consious
rapid, irregular breathing
Shivering, shaking, cold
Rapid heartbeat, weak pulse
nausea
Treatment
Get a fucking doctor
Keep warm (hypothermia)
Lay flat, raise feet
If carry, try keep flat with head lowered
Don't give fluids by mouth
What Anna Needs to do...
What the Doctor Needs to Do...
GOAL : replace blood and fluids lost
Blood transfusion
Possibly need medicines like...
Dopamine
Nonrepinephrine
dobutamine
epinephrine
to increase blood pressure
Causes
Rurik stabbed him
has to be somewhere where lots of blood vessels or one big one
stomach area
but not where it would puncture any organs
Arm along major veins
Anna
Past
Thoma
Present
Clara
Future
astral projection???
contact w/ spirits
know people's & places pasts
can better predict present & future behavior
better understanding of people
see specific future as a result of a specific action/choice/event of present
can see what will happen for each possible choice, before choice is made
can see what choices will be made once the person has subconciously already figured out priorities along line of decision, although they may not realise they already know what choice they've made
Fear can get in way of abilities?
For Clara only?
can sense where people are (if connection to them)
can sense distress, strong emotions
can sense vaguely what is going on, happening to someone (if connection to them)
distance dampens ability
emotional closeness or importance increases ability
however...
more for when they're in danger
not when confused and weak after fight he is more in past b/c slipping away
doesn't know where Clara and Anna are or if Clara found Anna or is safe.
Appearance
Abilities
Clara
purely physical description...
fair skinned
blue eyed
light blonde hair
Eyes full of hope, innocence, and innate curiousity/wonder.
Thoma
Anna
hopelessness
Clara. Scared and alone for first time - first thoughts of what life could be like without Thoma, how unstable their situation really is, wondering for first time if her and Anna can survive on own, and feeling so alone in world, no friends, no family, no one that knows their name, except Thoma, who she might loose, and Anna, who would become to busy trying to earn $ for them to survive to really be around. Even as Thoma's condition stabilizes, this realisation will continue to haunt her (moreso when he is still recovering yet still stable--lying in bed, IV's plugged up to him, him sleeping. It occurs to her for real then that her brother can break, that he is being really and greatly tested, that he is not made of stone but he is lost as she is (and she knew that he was lost and being tested but it never occured to her that it was still possible to fail. She lies curled up in fetal position next to Thoma as he's lying in hospital bed, stable but weak and asleep, his arm plugged up to the IV, the sound of some machine in the background (maybe not electrical... is there electricity in this world?) - lies there, depressed, feeling alone, needing him, needing mom, and he's right there but he's not there, and he needed mom too she saw for the first time, he was a child too, and she wasn't there because she too was not the all-powerful being Clara thought she was, she couldn't be there because this world had evil and it was strong and it seperated families it was stronger than her (mom). Loss of some innocence, seeing the reality of the situation, a feeling of helplessness and fear for the present and the future--would they be okay? Would everything turn out alright?
too many decisions and factors for her to know how the war will turn out
Hair color?
dark brown
light brown
normal brown
some type of brown
sandy blonde
auburn
dark red
Fair-skinned
paler if red hair
Eyes?
blue
dark brown?
warm-colored brown w/ flecks of yellow, orange, green
brown/green
Like autumn, especially if she also had the red/auburn hair. Autumn is like death/past.
Annabelle - original picture/inspiration of Anna
Oct. 13, 2011 - today I'm feeling
Dark brown hair, big deep-blue eyes, a very FEW freckles on her cheeks
Don't know why but, although red hairs pretty, its harder to relate to her when she looks like that
Maybe cause...
it's too different from how I originally saw her in my head so it feels like I'm creating a new character except by trying to fit it into the constraints of a different, old character
makes her feel too much like an elf/faerie/goddess and less human
Eye color?
hair color
hazel
light brown
Somewhere along light brown vein...
I like his gentle face here, and his eyes and his hair. He looks young, gentle, innocent, smart, caring, loving.
In an abandoned home they're spending the night in--possibly one they went to expecting to find someone from the list in. Slightly sad, innocent eyes, slightly smiling a sad looking-back sort of smile as it reminds him of home and safety, Thoma plays the piano, slowly, thoughtfully. Clara sitting quietly next to him, also slightly sad, still needing to be near Thoma a lot, especially in these situations where it hits her again how this holocaust has changed the world, life so much, even so far away from her home as here. She sits quietly near him looking down blankly, or at the keyboard in front of her. Thoma takes her hand, gentley, smiling that same smile at her--that smile which appreciates the little things left but still mourns for all those things lost, a sort of fragile, bittersweet happiness, which enjoys the momentary stillness and peace given to them in a time full of such sorrow, fear, work, and running--he takes her hand, (bringing her out of her lost reverie) placing it on the piano keys, moving her fingers, in sync with his own, teaching her how to play. They loose themselves in music, coming together, being a family. Thoma still feels so fragile, so tired, vaguely sad but so greatful of what he has--he was so scared of losing Clara and he has no words, for now, only music. His wound is still healing and his strength is still building back.
Do they end up (when Clara gets older maybe) going into a internment camp as a spy after they find some people organising against this movement? Do they go in as a prisioner or as an imprisioner? Do they do it to save their mom and Anna's Dad?
Clara will be completely devastated so there must be a great need, a great drive to get them to do this.
Clara runs away and hides here sometime when she is upset and scared about life and the reality shes finally seeing and about Thoma and about needing her Mother and Thoma and shes feels so scared and alone and she loves Anna too but the event with Thoma caused her to realise that both Thoma and Anna were not as invincible as she thought they were and she needs someone strong, she needs her mother and she wants to have Thoma back.
Thoma in fight, getting stabbed by Rurik.
OR Internment camp something or other.
Fear.
Running, cops are coming, have to escape. Maybe were escaping from internment camp and then the lights go on and the sirens and have to run.
Or it's just when they are hiding out and the police are checking out an abandoned house or something on a hint
OR it's night-time and Thoma broke in to this place to spy on the otherside, what they're doing and then the lights go on and he has to run and escape. Anna also goes? That is if Anna knows that Thoma was going. Anna could figure out the past of what had been going on and if their were any ghosts there they had killed or where they had taken people they had captured and stuff and how they found them and captured them.
Maybe they made ghettos for them to live in, those that didn't know what was going on in time to escape or what would be going on soon after they moved on from the ghettos. Some citizens also would come in to the area and set fires and bombs sometimes too before they even moved them on to the internment camps.
Not all of their life is depressing all the time, sometimes there's these nice moments. Here I see Clara, around Christmas timeish maybe, or no, autumn time, and it's a nice lively chilly feeling outside and she's on the town, enjoying the nice atmosphere, stealing from people,
Anna and Thoma are in the room alone, talking, Thoma sitting on the edge of his bed, Anna sitting across on his suitcase. "I don't know Anna," he said, holding his head up with his hands, "I just don't know." He shook his head and, closing his eyes, started to cry, quiet tears slipping out. "Hey," she said, her big blue eyes filling with a sweet sorrow, getting up, sitting next to him on the bed. He sobbed into his hands, shaking. She put her arms around his body bent towards the floor, unable to hold himself up in his fear and misery. "Thoma," her eyes welling, "don't. No, We'll be fine. We'll...". She stopped, she couldn't say, she didn't know, but it hurt so much to see him lose it as well. Her own eyes filled with tears, sliding down her own face. "I don't know," she admitted, "I wish I had the answer, I wish I knew what to say, I.." she had to stop, before her voice broke.
Dogwood Blossom
Thoma singing, playing piano or violin for Anna. Not for her but shes there and
maybe it is for her. a memory. a song they used to sing and play as kids, a safe song from their home, their childhood. Playing the violin, painting a memory of safety for the sad girl he loves so much. She joins in, humming, then singing quietly. Turns and smiles at him briefly, tears in her eyes, then looks down at the blossum in her hands. Or whatever it is the song was about and inspired Thoma to play.
At some point, someone they meet and are working with, a new ally, someone who became a sort of friend overtime, is killed or taken away.
Is it their father?
Dead?
Taken?
Thoma comes in, happy, cheerful, he's come in with groceries or back with some important/useful info he's excited about. He opens the door, calls out his name, "____! ____ I have something to... tell you," his voice dropped. No one answered, the house was still--something was wrong. No one was here, he couldn't feel a soul in the house. (If he brought groceries or bags then he drops them or
Anna has to know that it's his Dad b/c of abilities.
Thoma will be upset when he finds out for himself especially b/c it won't be until after his Dad has been taken, meaning he may never be able to ask his Father all the questions he wanted to (although many are answered in the journal he may have left him before being taken (Clara may have mentioned something about the future, asking him why something was going to happen). Thoma is extremely frustrated, Anna understands why Thoma is mad but also is mad/frustrated that he won't see where she's coming from, why she didn't and she feels awful too and wishes he'd stop making her feel even more guilty, constantly making her think of it again.
How does Clara feel about all this?
Sidenote
The father thing was never as big of a thing for her as Thoma.
In many ways Thoma was like a father to Clara and Clara was like a daughter to Thoma, like Zoe is to me.
Thoma grew up more alone than Clara--she had more of a support group around her, lots of people that love her
She does want something though, like a grandparent, and she liked that guy, maybe not as much as Thoma, or it didn't mean as much to him. He felt such a sense of loss cause he was like a father to Thoma before he even knew and they'd had a lot of meaningful talks. They'd talked about his Dad before too.
Angrily, not looking anyone in the eye, just grabbing something or throwing something down and stuffing things in their suitcase "Well ___s gone, he's been taken, time to go, on to the next one. Let's go!"
Anna's reaction, complete shock, confusion and disbelief. "Thoma? What, what are you--what do you mean he's--" Thoma doesn't stop or look her in the eye the whole time.
"I mean he's gone, he's history, we'll never see him again, on to the next guy. Where's the list? Where are we going next? Do I need more sweaters or so we need some shorts?"
"Thoma!" she shouts, finally getting him to stand still a moment, "Will you stop packing for just a second and tell me what the fuck is going on?!"
"I already told you," he said, his face full of fury (like Reid distrustful angry) "We have to get out of here, now, what the hell else is there to know?"
Thoma's reaction when telling the others?
Thoma coming in, pulling Anna aside.
"Do you have something to tell me?" Thoma asks angrily, coming in, confronting Anna.
"What?" Anna asks, confused and startled and a little scared, wondering what's happened.
"Why didn't you tell me? What made you think--After all those--" he has to pause a moment, clenching, before he chokes up and cries, angry and hurt. "Were you ever going to tell me?! What possessed you to think that you should keep this from me?"
Sudden realisation, "Thoma I didn't tell you b/c he wanted to tell you himself, he wanted you to get a chance to get to know him first. He didn't want you to get angry with him like this before--"
"I'm not angry with him, I'm angry with you."
"Thoma, I'm sorry, but I think it was a good idea. But apparently not, apparently you're still just as angry with h--"
"He's gone Anna," he told her, staring at her angrily, she freezes.
"What?"
"He never told me, he left another fucking journal."
"Thoma, I'm sorry! Oh, Thoma, I'm so sorry, I didn't know, I"
"Save it, he's gone, finsihed. Time to get your things, we gotta go before they find us. On to the next on the list! Let's go!" "Come on Clara! Let's go! Time to go, we're leaving"
"Why
"Thoma, stopI didn't know,
"How could I let this happen? We're supposed to look after each other, we're supposed to keep this kind of stuff from happening. This isn't supposed to happen. Shit. It's all going to shit. "
"We are looking after each other Thomas," she looked at him, her eyes full of tears, "we put up with it so Clara doesn't have to, we put up with it because if we didn't, it would only get worse. We do it to stay out of the camps. We don't have a choice Thoma, that's why I didn't tell you, I know you blame yourself but you can't."
"But if I' only been there earlier
There's nothing else you could have done" I chose not to tell you because we need to stay here.
Thoma hit him over the head with a ____ stick from off the wall (or brought a baseball bat or frying pan). The man wobbles, backing away from Anna's face and turning, confused towards Thoma who looks at him scared. He takes this time to hit him again, maybe this time in the crotch. Anna is free now and Thoma and
Do I want it to be a group of men that are walking in and start bothering Anna instead? Would make for a bigger event, more of an emotional climax if the fight lasted longer and had Anna help too. Scarier.
Anna is along wall in bar, scouting, she is more tired tonight, paying less attention, doesn't realise that this group is coming in, doesn't move away into the croud more in time. In short, they suprise her when they come in. One of the guys gestures towards Anna, his group hangs back at the bar while he approaches her. He comes up and tries to get her to .....wait, so maybe same thing happens except that when Thoma tries to go after the guy with Anna another guy from the group says "Whoa, whoa, what do you think you're doing?"
Or when one guy is approaching Anna the other guys follow but hanging around them, blocking her from running away and stuff, and knowing they're getting some too. She looks around frightened, no idea what to say. She knows she shouldn't have shown any fear, this is what they want and what will get them more riled up and prepared for anything she'll try, but it catches her by surprise so much that she slips up. She can't pretend it didn't happen now though, she can only try to accept it, as if this has happened before and it'll just happen so shes not scared anymore so much. Wait, no, she'll just, she'll be too scared to do that, she'll just be speechless. He'll ask her something when they first come up "well hell-lo" then "a lady like you needs a a big man, how bout you and I go for a little 'dance' out in the alley?" he asks standing so close to her, grabbing her ass "I-I-" she said, terrified, backing up running into a guy behind her, one of the group, towering over her. "How bout a dance over there first?" she suggests, pointing to the dance floor, hopeful. "Nah I don't think so," he says laughing, his hand on her hip, the other sneaking up her thigh, "I have other ideas" he said smiling, looking her up and down, thirsty. "Shorts?" he cocks his head, his hand all the way up her skirt, "What do you need those for?" He leans in and kisses her, she doesn't kiss him back, "What? You don't want me?" he asks, she can't answer, h gets more aggressive, backing them up against the wall, sticking his hand up her blouse this time, "Huh?" the other guys are laughing as she gives up holding back, and begins to squirm. He's got her pinned up against the wall and starts to kiss her again, hand still sticking up her skirt and shirt. Thoma walks in then. Anna is pinned against wall and the rest of group is surrounding her. Thoma is freaking out, he doesn't know what to do, there's 4 guys against him and Anna. None of them know he's coming though. He quickly strikes out one of them, using this surprise to help him get in a strong enough blow to knock that guy out at least. "Hey!" The other guys all get ready to jump Thoma (luckily he saw that none of them had knives ) this makes the guy on Anna pause and turn around, but still keeps her pinned to wall, she has a free hand though now and no ones watching her to catch her, she grabs a knife from the back of her skirt and takes it and stabs the guy in the gut supried he lets go of her and she can get away from him and the other guy to her left had moved towards Thoma. She is free and they all look at her now, except maybe one of the2 guys going after Thoma now, they had time to grab Thoma and punch him hard in the gut already no, there will just be one guy left now and he got distracted by
Anna and Thoma are in the room alone, talking, Thoma sitting on the edge of his bed, Anna sitting across on his suitcase. "I don't know Anna," he said, holding his head up with his hands, "I just don't know." He shook his head and, closing his eyes, started to cry, quiet tears slipping out. "Hey," she said, her big blue eyes filling with a sweet sorrow, she hesitates, "hey," then gets up, and sits down next to him on the bed. He sobbed into his hands, shaking. She put her arms around his body bent towards the floor, unable to hold himself up in his fear and misery. "Thoma," her eyes welling, "don't. No, We'll be fine. We'll...". She stopped, she couldn't say, she didn't know, but it hurt so much to see him lose it as well. Her own eyes filled with tears, sliding down her own face. "I--I--" she chokes up, lips quivreing.
Anna stresses Rurik out cause she sees right through his tough shell - Rurik starts drinking even more, alcoholism gets worse - Rurik acts up more and more, testing them more and more, becoming more and more ridiculous and defensive and spiraling down. Anna is a mirror for him, that's why. She makes him feel like a little bastard child still, like a dumb pathetic punk. - it getting worse, puts Clara in danger that way. This brings them to a point of conflict, climax.
Anna uses her time on the nightshift not only to make $ but to flip through people's past and gather info about what's going on - what the public knows, what the public's being told, what the public thinks, what the officers know, what they're secretly doing, etc. Trying to find out what's really going on as well as knowing which types to stay away from (people who are threatening and/or against her type) on the job, which ones to spy on. This is sort of her rebellion against Rurik, as well as the restraints society was putting on her, forcing her to live with Rurik
That night when that group of guards finds her and offers not to report her if she doesn't charge them - that's one of those nights when she was spying on them maybe, or others and then these guys snuck up on her.
Timeline/What Happens
During the book
Backstory
(Idea: Draw lines where these come into play in book)
Note: Order may be rearranged of course, not strict order
Anna & Thoma's relationship
as kids
as teenagers before these events
Thoma's Dad & Anna's Mom's Relationship
Thoma's Parents Story
how they met
explanation for large gap b/w Thoma & Clara's age
Clara adopted?!
Explains...
Age gap
Clara's LESSER personal interest in Thoma's father when meet him
Clara's Parents
what happened?
who are they?
where are they from?
does Thoma's father know them? if so, how?
Does Clara know?
Does Thoma know?
Does Anna know?
Thoma's Father & Clara's Parents
How much does Clara see in future in this situation with Thoma's Father? And how much does she understand?
Relatives

Close Friends
Total strangers
Sister's kid
Clara's adoption
parents died?
parents give her up to protect her?
She was found alone
set on his doorstep
massacre somewhere, baby only survivor he find left
found alone in woods
Why does Thoma love his sister so much?
He feels abandoned and she was abandoned - he wants to protect her, give her the love, family, and support that she deserves - feels a connection with her too this way - it's okay, I was abandoned too, we don't need them though.
Dad dropped her off, in a letter which for once directly addressed Thoma, asked him to take care of her, explaining her story and why she needs it so bad. Thoma gets feeling from this letter that, although angry that Dad wasn't around, he still loved Thoma and thought about him, and feels closer to Dad that way and like his Dad is a hero and that's why he's away and it makes Thoma feel like a hero that way too and connected to his Dad
Thoma's father not there b/c choose not to be.
Anna's mom not there b/c she died in childbirth
Having trouble relating more to Anna again - need to submerge myself more in her own personal by-herself life, before and during story. You're spending too much time writing about her emotions only in relation to Thoma and how Thoma discovers them and reacts to them.
What drives her, has driven her? What is important to her? What are her worst fears.
How close is she to Clara?
Before the trip
when little
when older
right before leave
During
beginning
middle
endish
Depends on...
How close is she to Thoma?
How long have they known each other?
Before trip...
Toddlers?
Early childhood
Late childhood
Once Clara comes
Pre-teen years
Teenage years
need to know each other at least by
Feelings about Her Mom
Wonders if she would have left them if she had survived
Wonders what she was like
No chance to ever know for herself
(unless meet her ghost??! That's assuming though that she would stick around. But is she really limited to ghosts?)
she can ask her Dad, Thoma's father, and see for herself from their memories what she was like
Feel the memories of her mom in her home? - (did her mom die there or did they move somewhere that she had never been?)
How all that affects her feelings about Thoma's Father and his disappearance and Thoma's reaction to her not telling him.
Thoma's father meant a lot to her as well
Lots of late night talks with him
He makes her feel closer to her mom
He became like a father figure to her too through these, or like an uncle
Supportive of her and good listener, good at understanding too.
Talked about
Thoma and his feelings about his father and about him not knowing it's his father.
How hard it was to do all this shit...
raising Clara alone
not knowing what to do or where to go
not knowing what's going on or what will happen to them
having to put up with Rurik and his demands
the daily fear
missing her Dad
missing home
missing normal life
Her mom, what she was like
Her feelings about her mom and not knowing her
Feeling alone
Feeling that, although her, Thoma, and Clara are a family, she is still somewhat on the outside because she keeps so many secrets and Clara is Thoma's little sister and not as much hers. She needs a family, she feels so alone sometimes because she doesn't have a mom and her Dad is sort of distant sometimes, even though he's loving and she misses him and she may never see him again and she's jealous that shell never know her mom, unlike Thoma.
Thoma and his relationship with Clara and Anna's understanding of why it is that way (this goes with the Thoma's feelings about father thing)
He got to meet his Dad, she'll never get to meet her Mom. She'll never know the answers to her questions, she'll never have any sort of relationship at all with her mom.
I don't know who I am, I can't count on anything anymore, only Thoma and Clara. Other people come in, fill holes, but they never can stick around for long. It's so hard to trust anyone now, but then you'll find those few you can and they take them away--either we have to leave, they do, or they're taken. There was the old man in (town name), there's _____ from ____, etc. I hope the pattern doesn't keep up with you.
They're my family now, Thoma and Clara, but they're not enough. I still feel so alone sometimes. All I had was my father, and he could be so sad and distant, but now he's gone. They got to keep each other, they had a mother for awhile, and although they'll probably never see her again, they might and I never will. And Thoma got to meet you finally, and he had your shadows growing up. I feel like an outsider in the only sort of family I have left.

His response: It's hard, that's for sure, this life. I know how you feel. I spent so many years away from them, traveling, constantly, and then I'd come home to see them. I could never bring myself to place myself in his life. I couldn't visit very often, and I could never stay for long. I didn't know what would hurt him more, not being there at all or being there but only barely. There was no way I could ever do right by him, and it was the hardest thing, knowing that. I wanted him to have a normal life, and I knew I could never be in that picture. It was the hardest thing to stay out of his life.
It feels so strange to finally see him and spend time with him. (pause) It's great, but in a way, it's a curse, knowing that he has no idea who I am, thinking of all the moments I missed, all the moments I could have had. But, I couldn't have, not being what I am. But I can't help but blame myself anyway.
Thoma's father sends word of a movement moving towards where they live.
Question... In urgent danger or going to be?
Question... sends letter or comes to tell mom?
Urgent danger
More likely for him to show up in person to tell Mother
Would have to hurry to pack bags. Depending on urgency, may not have time to pack any at all
Coming Danger
Time to pack
Time to warn Anna & explain situation
Would make it more difficult to force selves into action without the immediacy of the situation or it's visibility.
BUT maybe this offers a new opportunity to the story... They might not leave then until the danger became more apparent. Anna and Thoma would start talking about situation beforehand nervous but cautious and suspiciously skeptical (Moreso that is Thoma).
Thoma doesn't want to believe it at first, period of anger and denial--blames Dad for this situation
feels father is taking away his mom as well, already took away father
feels father is taking away the happiness & stability Thoma had to find for himself w/o father
Feels father is putting his mom in an awful position
Also angry at mom for being so loyal to him, esp. because of Thoma's views of what this is doing to their whole family, and Anna.
He's not been a part of Thoma's life and then all of a sudden he decides to rock his whole world off kelter ?
Mom reads them letter (or tells them what he told her when he came and talked to her)
If not urgent...
Thoma gets both freaked out and angry and then goes into denial. Argues about it with Mother for awhile (No, this is unacceptable, he has gone too far, I'm not going. Does he realise what he's doing to us? No, this is bullshit, I'm not having it.) Mother defends Father and Thoma gets too overwhelmed and frustrated at her and the situation and just leaves in a huff, on the verge of tears. He runs off, out of the room, out of the house, down the street, needing to burn off the energy. He grabs his bike and heads off towards town. It's close to evening now but he doesn't care. He rides off down the road, over the bridge, past the feilds of wildgrass and poppies, the farmlands, along the great river, over the cobblestone bridge, then up the narrow streets, getting off and walking his bike as they got steeper. he went up the alley behind Anna's shop and left his bike against the wall, knocking on the backdoor. "Hold on a minute, I'm with a customer!" (Reflecting on his present state...right now he is angry and frustrated, feeling powerless and really needs to talk to someone) he knocks again "Be right there Thoma!" (she says annoyed, between her teeth) "Sorry Ms. Heather" she smiles, finishing up with the slightly disgruntled little woman. She packs up her things into her basket for her and hands it to her, "Have a good day," she said with a strained/forced smile, trying not to show the tired stress from a long, busy days work. The creaky little creature just grumbled to herself as she wobbled/hobbled her way out of the shop. Writing a quick note and placing it on the door, she locked the shop and went to answer the backdoor which was knocking loudly once again. "What?!" she asked impaciently, pulling it back swiftly away from Thoma's hand.
"He sent us a letter," he says immediately.
His expression wiped away all of her annoyance with him, catching her off-guard, she was frozen in place. "Thoma?," she said, shocked.
He was shaking, lip quivering in an overwhelming anger; in his fist was a letter. His eyes were a livid flame, welling tears. Blinking the tears back, trying to hold it together, his eyes darted, trying to determine where to begin. He was speechless, he didn't know what to do with himself, at a loss for any beginnings. There WAS nowhere to begin, it was unacceptable, it was uncomprehensible.
He opened his mouth to say something, his voice coming out like a croak. He broke.
Horrified, Anna ushered him in, holding the door open, pulling his bike in after her. Setting his bike against the wall, she sat him down at a table in the back. Bent over the table, his hands knotted in his hair as short choked sobs spouted/sputtered out of him between breaths. The letter was still clenched in one of them, which, struggling to understand, Anna gently took, getting him to relax his hand and release it.
The paper was thick and full of creases, slightly damp where Thoma had clenched it. She smoothed it out with her hands and began to read,
Comes to Tell
Sends Letter
Most definitely less urgent, considering the unreliablity of when they'd get the letter
Urgent Danger, unless happened to be near there at the time needed to warn them (but less likely)
Thoma will be pissed Father didn't show face to anyone but Mom and resent him and situation even more.
Can't possibly see Father b/c can't know what he looks like for later in story
Mother gives Thoma the journal or letters from his Father as he's leaving
Does she tell Anna and thoma or just Thoma? (Don't tell Clara until the time gets closer.
How big is their town? A combination of that cliff side town and St. Jean de Cole? Has to be bigger than St. Jean de Cole, their community, even if these 2 places are 2 seperate towns, they need to be connected socially, can't have a social structure as small as St. Jean de Cole.
So... They both live in St. Jean de Cole area (? maybe Anna will live in town part actually? Or met when kids in St. Jean de Cole but then she moved in to town) but hang out with those kids and kids from the bigger town. (they're close by, within walking distance, esp closeby for bikes)
Anna works in a shop in town.
Arriving home to a familiar weather worn door, Thoma discarded his bike, cap, and messenger bag. "I'm home Mom!" he shouted cheerily, ready to sit back and relax, discarding a long day of traveling, delivering papers and mail everywhere from ____ to _____.
There was no answer. This was not all too shocking as ____ was often out working in the garden out back, but immediately, Thoma knew this was not the case today. Now that he was focused, he could sense that presently his mom was sitting at the kitchen table alone, something was troubling her greatly. Thoma rushed to the kitchen concerned, "Mom? What's wrong?"
Reaching the kitchen he saw that she most certaintly was NOT her usual smiling self. In her hand she held a letter which her damp, shadowed eyes looked at like a draft letter.
"Mom, what is that? What's wrong?" he asked from where his startled frame stood in the kitchen doorway.
His body filled with a visceral fear as, in a hazy/hoarse/throaty voice, without looking up from the letter folded in her hand, she told him, "Thoma, I have something to tell you." This image of his mother, her seriousness and deep, thoughtful depression, shook him so completely he was left immobile in the doorway.
"Mom?" he echoed, almost as if to assure that she indeed was his mother; his voice was small. He didn't know how to consolidate this image of his mother with the loving, nurturing, smiling woman he had grown up with. Her sunshine had been reduced to the errie, dirty haze of a (dustbowl) desolate, dusty(dustfilled) wasteland.
"Sit down, Thoma," she told him gently, half-looking up at him to reassure him, but unable, afraid, to really look at him.
Pulling out a chair, Thoma sat down, somewhat clumsily, unable to take his eyes away from this shattered angel from his childhood.
Her lips parted, but revealed nothing, searching for the right words to tell him. When she discovered they would never come, that there was no right place to start to make this any easier, she began to speak.
"Your Father," she began, cautious of the involuntary grimace which passed momentarily through Thoma's face. She went on, "Your Father, sent me a letter, explaining some of what's going on in the rest of the country lately.
We've always had to be careful to keep some things to ourselves, with you and Clara being... what you are. It's always been a little... dangerous, probably a little more than any of us realised, but..." She had to pause a moment, closing her eyes, breathing deeply, composing herself. Thoma watched her silently, eyes darting around fearfully, clinging to the edge of her words. The mere seconds she took to regain her composure seemed to Thoma to take forever. She opened her eyes and continued, "it's never been as dangerous as it is now. The ______ is turning everyone against the Fay. They've started a secret police and already in regions like the ____(region) and the _____ neighbors are turning on neighbors, revealing each other to the police. In some places where they're already pretty divided from the rest of society, they've already started bombing Fay neighborhoods, and, kidnapping those that are left, taking them to internment camps where who knows what happens. It's not here yet, but it's spreading."
"But mom, this, this hasn't been in the papers, this--" he said, frowning, confused and flustered.
"No, it's not going to be. They don't publish that stuff. If they did, people living in places where Fay aren't so well-identified or seperated--like where we live--those people would be more likely to sympathise with the Fay--with you, your father, Clara, and Anna. They want to turn people against you."
Scoffing, angry and disbelieving, Thoma refuted her, "Mom, no one... these people--our neighbors are not going to turn us in to be murdered. Nobody's that heartless, none of them hate Fay enough to turn us in. They love us, we, we grew up here. They're your friends."
"Thoma, I know it's hard to understand, but war changes people. When your own life is in danger, when there are soldiers in the street, when they start bringing your friends and neighbors in for questioning, when you know they'll be doing the same to you soon--people get scared.
They put up quite a show as well with the trials. They're taking random people off the street throwing them on the stand and forcing them to admit to charges of being a Fay and commiting heinous crimes. These people, they're innocent mostly; most of them aren't even Fay. What they're doing is changing people's perception of Faypeople, getting them to see you and anyone standing on your side as a threat; heartless monsters. People, our neighbors, your friends, they'll change. They'll turn you in not just because they're scared of you, but because they're scared of being seen as on your side. Anyone who knowingly keeps that kind of knowledge to themselves is murdered just the same as the Fay if it's found out that they knew, or if it seems too plausible they would know."
"Mom, no one knows what I am!" he shouted angrily, "they can't tell if they don't know."
"Thoma, listen," she said, keeping her voice calm and slow, "they already have, in other places, people, if not the police themselves, pick off anyone to turn in so they'll appear loyal to the government, so they can save themselves and their families. They may not know anyone who's Fay, but they'll make something up if their life depends on it. And you, Clara, and Anna are all in a suspicious situation considering that you not only each have an absent parent but you're friends with each other. Not to mention the fact that neither Anna nor her Dad were born here--they've been accepted now, overtime, but once those police get down here and pit everyone against each other, people will remember. And then there's Clara--everyone knows she isn't mine, and while right now they may believe the story I told them, when those soldiers get down here they'll start to wonder if she could be a faychild."
"Well what the hell does he expect us to do?! Move? That'll make us look even more suspicious to people wherever we went!" Thoma said, exasperated, rising, pacing.
He looked at her. She was silent. Thoma sensed then she already knew that was true. She was holding back, she didn't want to answer his question. He stood there, hands on his hips.
Suddenly, it occured to him, the only possible answer to his question. The only other option. "No," he said, shaking his head with a slowly gathering fury as he slowly grasped this thought, "No, we're not going into hiding, what the hell is this that--" He couldn't even wrap his head around the idea; this wasn't real. He couldn't even imagine being forced to pick up and leave the town he'd lived in all his life to move to a new one. Nothing could be so bad as to force him to disappear from society, and without a word said to any of his friends. What was he, a foriegn agent?
"Thoma, it's the only way you'll be safe! You, Clara, and Anna would go into hiding and slowly make your way out of the coun--"
"You wouldn't be with us?!" Thoma interupted, absolutely bewildered.
She stopped, looking down at the table, her eyes solemn. "No," she said to the still air/quiet, "Your Father thinks it would be safer if--"
"My Father?" he interupted again, staring with empty eyes at the floor. He looked up at her, his eyes full of a quiet sense of injustice. The room was still for a dark moment--the calm before the storm. "'My Father' hasn't seen me since I was born. 'My Father' never raised me, or visited. 'My Father' left gifts with the occasional letter. 'My Father' was never there! 'My Father' my ass!" he shouted, his voice breaking. "I never had a Father because of him, he took that away from me. He was never a part of my life, what makes him think he can just barge into it now and mess up everything we've made for ourselves without him? That he can take you away from me too?" he said, his face rigid, his eyes welling with angry, defiant tears.
"Thoma," she started gently, her eyes full of a deep, panging pity, "it's not your Father's fault that things are the way th--"
"Stop, mom! Just--" he begged, holding up his hands and closing his eyes, "I'm, sorry--just.. don't, please. I don't want to hear it." He couldn't take it when she tried to defend him, and for the life of him, he couldn't understand it. He knew she loved him, but couldn't she see that he didn't really love them back the way she did? Thoma, quietly, fighting a headache, asked her, "Why do you have to defend him? Do you not see what kind of situation he's putting you in? What the hell are you supposed to do? Where does this leave, not only Clara, Anna, and I, but you? Does he think that, just because he can pick up and leave his family that you and I can too? I mean I'll still have Clara and Anna!"
"Thoma, don't make this any harder for me than it already is!" she shouted, unable to keep herself contained. "Do you not understand that's why I'm so upset?!"
Thoma was silent as he watched her close her eyes and clench her fists, trying to stay above water. "I'm only doing this because I have to, for your safety. You don't understand how hard it is for a mother. And to not know if you were okay..." she had to stop again. "I'm doing this because no Mother could keep her children in danger, just so she could be with them."
"Mom, I understand how hard it is but you don't have to send us away--whatever happens, we stay together, as a family,"
"Thoma, you know I can't do that!" she yelled at him.
"Mom," his voice was gentler now, "I understand
how hard this is, but
'My Father' is the reason I never had a father
I never had a father, he took that away from me; but I was still happy, I made He was never a part of my life
"Why do you have to defend him? Do you not see what kind of situation he's putting us in? What the hell are you supposed to do? Where does this leave, not only Clara, Anna, and I, but you? Does he think that, just because he can pick up and leave his family that you and I can too? I mean I'll still have Clara and Anna!"
"You wouldn't be with us?" Thoma interupted, staring at the floor with a confused frown.
She stopped, hurting, knowing the pain he felt and that she couldn't fix it.
"No," he said, shaking his head with a slowly gathering fury as he slowly grasped this thought, "No, absolutely not. It's unbelievable. No!"
Arriving home to a familiar weather worn door, Thoma discarded his bike, cap, and messenger bag. "I'm home Mom!" he shouted cheerily, ready to sit back and relax, discarding a long day of traveling, delivering papers and mail everywhere from ____ to _____.
There was no answer. This was not all too shocking as ____ was often out working in the garden out back, but immediately, Thoma knew this was not the case today. Now that he was focused, he could sense that presently his mom was sitting at the kitchen table alone, something was troubling her greatly. Thoma rushed to the kitchen concerned, "Mom? What's wrong?"
Reaching the kitchen he saw that she most certaintly was NOT her usual smiling self. In her hand she held a letter which her damp, shadowed eyes looked at like a draft letter.
"Mom, what is that? What's wrong?" he asked from where his startled frame stood in the kitchen doorway.
His body filled with a visceral fear as, in a hazy/hoarse/throaty voice, without looking up from the letter folded in her hand, she told him, "Thoma, I have something to tell you." This image of his mother, her seriousness and deep, thoughtful depression, shook him so completely he was left immobile in the doorway.
"Mom?" he echoed, almost as if to assure that she indeed was his mother; his voice was small. He didn't know how to consolidate this image of his mother with the loving, nurturing, smiling woman he had grown up with. Her sunshine had been reduced to the errie, dirty haze of a (dustbowl) desolate, dusty(dustfilled) wasteland.
"Sit down, Thoma," she told him gently, half-looking up at him to reassure him, but unable, afraid, to really look at him.
Pulling out a chair, Thoma sat down, somewhat clumsily, unable to take his eyes away from this shattered angel from his childhood.
Her lips parted, but revealed nothing, searching for the right words to tell him. When she discovered they would never come, that there was no right place to start to make this any easier, she began to speak.
"Your Father," she began, cautious of the involuntary grimace which passed momentarily through Thoma's face. She went on, "Your Father, sent me a letter, explaining some of what's going on in the rest of the country lately.
We've always had to be careful to keep some things to ourselves, with you and Clara being... what you are. It's always been a little... dangerous, probably a little more than any of us realised, but..." She had to pause a moment, closing her eyes, breathing deeply, composing herself. Thoma watched her silently, eyes darting around fearfully, clinging to the edge of her words. The mere seconds she took to regain her composure seemed to Thoma to take forever. She opened her eyes and continued, "it's never been as dangerous as it is now. The ______ is turning everyone against the Fay. They've started a secret police and already in regions like the ____(region) and the _____ neighbors are turning on neighbors, revealing each other to the police. In some places where they're already pretty divided from the rest of society, they've already started bombing Fay neighborhoods, and, kidnapping those that are left, taking them to internment camps where who knows what happens. It's not here yet, but it's spreading."
"But mom, this, this hasn't been in the papers, this--" he said, frowning, confused and flustered.
"No, it's not going to be. They don't publish that stuff. If they did, people living in places where Fay aren't so well-identified or seperated--like where we live--those people would be more likely to sympathise with the Fay--with you, your father, Clara, and Anna. They want to turn people against you."
Scoffing, angry and disbelieving, Thoma refuted her, "Mom, no one... these people--our neighbors are not going to turn us in to be murdered. Nobody's that heartless, none of them hate Fay enough to turn us in. They love us, we, we grew up here. They're your friends."
"Thoma, I know it's hard to understand, but war changes people. When your own life is in danger, when there are soldiers in the street, when they start bringing your friends and neighbors in for questioning, when you know they'll be doing the same to you soon--people get scared.
They put up quite a show as well with the trials. They're taking random people off the street throwing them on the stand and forcing them to admit to charges of being a Fay and commiting heinous crimes. These people, they're innocent mostly; most of them aren't even Fay. What they're doing is changing people's perception of Faypeople, getting them to see you and anyone standing on your side as a threat; heartless monsters. People, our neighbors, your friends, they'll change. They'll turn you in not just because they're scared of you, but because they're scared of being seen as on your side. Anyone who knowingly keeps that kind of knowledge to themselves is murdered just the same as the Fay if it's found out that they knew, or if it seems too plausible they would know."
"Mom, no one knows what I am!" he shouted angrily, "they can't tell if they don't know."
"Thoma, listen," she said, keeping her voice calm and slow, "they already have, in other places, people, if not the police themselves, pick off anyone to turn in so they'll appear loyal to the government, so they can save themselves and their families. They may not know anyone who's Fay, but they'll make something up if their life depends on it. And you, Clara, and Anna are all in a suspicious situation considering that you not only each have an absent parent but you're friends with each other. Not to mention the fact that neither Anna nor her Dad were born here--they've been accepted now, overtime, but once those police get down here and pit everyone against each other, people will remember. And then there's Clara--everyone knows she isn't mine, and while right now they may believe the story I told them, when those soldiers get down here they'll start to wonder if she could be a faychild."
"Well what the hell does he expect us to do?! Move? That'll make us look even more suspicious to people wherever we went!" Thoma said, exasperated, rising, pacing.
He looked at her. She was silent. Thoma sensed then she already knew that was true. She was holding back, she didn't want to answer his question. He stood there, hands on his hips.
Suddenly, it occured to him, the only possible answer to his question. The only other option. "No," he said, shaking his head with a slowly gathering fury as he slowly grasped this thought, "No, we're not going into hiding, what the hell is this that--" He couldn't even wrap his head around the idea; this wasn't real. He couldn't even imagine being forced to pick up and leave the town he'd lived in all his life to move to a new one. Nothing could be so bad as to force him to disappear from society, and without a word said to any of his friends. What was he, a foriegn agent?
"Thoma, it's the only way you'll be safe! You, Clara, and Anna would go into hiding and slowly make your way out of the coun--"
"You wouldn't be with us?!" Thoma interupted, absolutely bewildered.
She stopped, looking down at the table, her eyes solemn. "No," she said to the still air/quiet, "Your Father thinks it would be safer if--"
"My Father?" he interupted again, staring with empty eyes at the floor. He looked up at her, his eyes full of a quiet sense of injustice. The room was still for a dark moment--the calm before the storm. Picking the letter up from off the table, "My Father," he stated, gesturing to the letter. "'My Father' hasn't seen me since I was born. 'My Father' never raised me, or visited. 'My Father' left gifts with the occasional letter. 'My Father' was never there! 'My Father' my ass!" he shouted. "I never had a Father because of him, he took that away from me. He was never a part of my life, what makes him think he can just barge into it now and mess up everything we've made for ourselves without him? That he can take you away from me too?" he said, his face rigid, his eyes welling with angry, defiant tears.
"Thoma," she started gently, her eyes full of a deep, panging sorrow, "it's not your Father's fault that--"
"Stop! Mom, just--" he begged, holding up his hands and closing his eyes, his voice breaking, "I'm, sorry--just.. don't, please. I don't want to hear your excuses for him anymore."
"Thoma, will you just listen to me a minute?"
"No! I'm not him, Mom! I can't do it! I love you, I love this town, I love these people too much! I can't just pick up and leave everyone I know, just like that, just like him"
"Thoma, it was just as hard for him to leave you and me!" she shouted, wishing she could somehow get through to him, "You were his baby and he loved you. He left because he loved you more than anything! It was the hardest thing he ever did, but he wanted you to have a normal life, an easy life--"
"An easy life? How's this for an easy life, mom?" he ajdlfkja, "Picking up and leaving the only place I've ever known to go into hiding--as if I knew how to do that--and raise Clara on my own with Anna. How's that for normal? How's that for easy?" Thoma stormed out of the kitchen to the front door, gathering his cap and bag. He couldn't take anymore of this, this wasn't real, nothing made any sense. He had to get out of this house.
"He didn't plan this Thoma!" she said, following him, pleading for him to listen.
"Actually, he did," he retorted, holding up the letter in his hand as evidence before stuffing it in his bag on his way out the door. Grabbing his bike, he head off over the bridge towards _____(name of bigger nearby town where Anna works in some shop), pedaling furiously, trying to burn away his thoughts and frustration with the burning of his calves and the peace of the feilds and great ___ river. All he could think was to get away. He had to get out, he had to talk to someone, he had to tell Anna. This was too much. This wasn't real.
The beautiful colors of the setting sun, dancing across the calm, clear, flower-invested water of the ____(river) next to him seemed ironic to Thoma. While normally this sight would have calmed him down, now all he could wonder was how much longer he'd be there to see them--there was no way to escape the fear and uncertainty, it was all around him, wherever he looked. He couldn't do this, he wouldn't do this. He wouldn't leave his only home, he wouldn't leave his mom, he wouldn't leave this valley. Everything would stay the way it always had been.
For a moment he was able to hold this thought, but truth was, he was scared shitless and deep down he knew they'd have to leave and he couldn't take it. He clenched his eyes shut for a moment, trying to forget, pedaling faster, running away, trying to focus on the healthy burn of his muscles.
*******
Arriving in _____ (the town) he shed his bike as the roads got steeper and more narrow, walking it up the alley to Anna's shop. Setting it against the brick, he knocked heavy on the backdoor.
"Hold on a minute!" came a voice from inside the shop--Anna.

Inside Anna was packing up the last of Ms. Heather's order into her white wicker basket, while listening to the latest atrocity Anna's generation had commited. Ms. Heather was a rude, crusty old lady who's face was incessantly scolding everything and everyone around her and who never knew when to stop talking. Anna knew that, in fact, Ms. Heather had been twenty times as awful in her day as any kids Anna knew presently, but no one alive today was old enough to remember and tell on her. Little Beatrice Heather had been the beast of ____(town name); while her parents were not short of money to give her growing up, they were short on time and as a result she became a rather spoiled little brat with few friends. She was the most bitter, selfish, and unpleasant woman Anna ever had the displeasure of meeting, and today she was giving Anna quite the headache. Unfortunately, she was also their best customer, and in these hard times, Anna couldn't afford to lose her temper.
Another series of urgent knocks came from the backdoor, each feeling like a hammering in her skull with the headache Ms. Heather had given her.
"Be right there, I'm with a customer!" she shouted with a barely contained anger. "Sorry Ms. Heather," she said with a strained smile as she had rehearsed many times over before shifts, then placed her wicker basket into the disgruntled woman's hands, trying to urge her to leave as politely as possible. "Have a good day," Anna forcably smiled. The creaky little creature just grumbled to herself as she hobbled her way out of the shop. Writing a quick note and placing it on the door, Anna locked the shop and went to answer the backdoor which was knocking loudly once again. "What?!" she asked impaciently, pulling it back swiftly away from Thoma's hand. "He sent us a letter," he says immediately.His expression wiped away all of her annoyance with him, catching her off-guard; she was frozen in place. "Thoma?," she said, shocked. He was shaking, lip quivering in an overwhelming anger; in his fist was a letter. His eyes were a livid flame, welling tears. Blinking the tears back, trying to hold it together, his eyes darted, trying to determine where to begin. He was speechless, he didn't know what to do with himself, at a loss for any beginnings. There WAS nowhere to begin, it was unacceptable, it was uncomprehensible--all of it. He opened his mouth to say something, his voice coming out like a croak. He broke.Horrified, Anna ushered him in, holding the door open, pulling his bike in after her.
Setting his bike against the wall, she sat him down at a table in the back. Bent over the table, his hands knotted in his hair as short choked sobs spouted/sputtered out of him between breaths. The letter was still clenched in one of them, which, struggling to understand, Anna gently took, getting him to relax his hand and release it. The paper was thick and full of creases, slightly damp where Thoma had clenched it. She smoothed it out with her hands and began to read,
Stuffing the letter in his bag and his cap on his head, he stormed out of the house, grabbing his bike and riding off over the bridge.
Grabbing his bike, he head off over the bridge towards _____(name of bigger nearby town where Anna works in some shop), pedaling furiously, his calves burning, trying to burn away his thoughts and frustration. Everything hurt.
"Hold on a minute, I'm with a customer!" (Reflecting on his present state...right now he is angry and frustrated, feeling powerless and really needs to talk to someone) he knocks again "Be right there Thoma!" (she says annoyed, between her teeth) "Sorry Ms. Heather" she smiles, finishing up with the slightly disgruntled little woman. She packs up her things into her basket for her and hands it to her, "Have a good day," she said with a strained/forced smile, trying not to show the tired stress from a long, busy days work. The creaky little creature just grumbled to herself as she wobbled/hobbled her way out of the shop. Writing a quick note and placing it on the door, she locked the shop and went to answer the backdoor which was knocking loudly once again. "What?!" she asked impaciently, pulling it back swiftly away from Thoma's hand.
"He sent us a letter," he says immediately.
His expression wiped away all of her annoyance with him, catching her off-guard, she was frozen in place. "Thoma?," she said, shocked.
He was shaking, lip quivering in an overwhelming anger; in his fist was a letter. His eyes were a livid flame, welling tears. Blinking the tears back, trying to hold it together, his eyes darted, trying to determine where to begin. He was speechless, he didn't know what to do with himself, at a loss for any beginnings. There WAS nowhere to begin, it was unacceptable, it was uncomprehensible.
He opened his mouth to say something, his voice coming out like a croak. He broke.
Horrified, Anna ushered him in, holding the door open, pulling his bike in after her. Setting his bike against the wall, she sat him down at a table in the back. Bent over the table, his hands knotted in his hair as short choked sobs spouted/sputtered out of him between breaths. The letter was still clenched in one of them, which, struggling to understand, Anna gently took, getting him to relax his hand and release it.
The paper was thick and full of creases, slightly damp where Thoma had clenched it. She smoothed it out with her hands and began to read,
Thoma's Condition After Fight
Bloody mouth
Bloody nose
Blood obscures his face
Many bruises
knife wound in chest
pale
massive blood loss
nope, nevermind that one
Anna rushing Thoma to the car, carrying him in her arms, frantic. Laying him down across the backseat, his head resting on Clara, he lifts his hand up and she takes it while Anna speeds frantically through the streets. He's terrified to leave them, but happy to see her and Anna before he passes, ready to pass if he must, he spends his time telling Clara how much he loves her and trying to make her more ready for his passing in case he does. How much is he able to do this though? He's not gunna be able to focus on her eyes that well all the time or focus on what he wants to say or how to say it if saying something wants to be careful about. He'd be scared and confused mostly - he won't be able to be as strong in front of her as he wants, but this will show her he's not invincible, an important thing to happen in the story
They pull in front of the man's house/work possibly leaving the car in street. (Mr. Brightside - beginning)
Can the man give Thoma any anesthetic when stitching up the knife wound? Would he need to, would he not be able to feel it anyways? He would have to stitch it immediately to stop anymore blood loss and then go get the transfusion stuff. If Thoma is conscious when this is going on may have to hold arms down and Thoma just has to bear it, stares afraid nto Anna's eyes, grimacing every once in a while in scared pain. Means a lot to him, really intense experience between the 2 of them.
Thoma opens his eyes slowly, he is laying in a warm bed with white sheets. he's all cleaned up, all the blood has been wiped off his face, his stomach feels strange, it's stitched up and he can feel where it caught the sheets. The sheets are soft, Thoma is pleasantly tired, sunlight shines through a nearby window, catching lazy dust drifting through the air, he turns his head to look at them drifting lazily through the air in the sunlight, the fabric soft on his cheek. moving his head back he saw Anna was standing in the doorway (leaning in the doorway) looking at him with sad loving eyes, maternal, (or she had been sitting in there instead). In whispers, soft voices, "I was so afraid that I'd lose you" she said rushing to him, hugging him, trying not to touch the stiches. She didn't let go, crying on his shoulder. He gets choked up too, or maybe just emotional voice, "me too. Oh my gosh. You have no idea. I was so scared that you'd have to raise Clara on your own, that I wouldn't see Clara and you before I passed away. Oh my god, if Clara had to go through that, had to see that..."
"She hasn't left your side once I had to force her to leave and play a game with Edward for awhile."
Should be working on streets some day and then all of a sudden a riot erupts in street, people throwing cobblestones and setting fires. Have to go get Clara, or with Clara? Have to go get Clara and hope Anna is safe, or Anna gets Clara and Thoma is out looking for Clara and (no he would know once Anna had gotten her to safety at least
I was a stain on your unmade bed
Political Forces, Groups at Work...
Current Leading Political Party
Reality
Fay used as scapegoat
Against Fay b/c of the threat they pose to their political power
Experiment on Fay in order to...
Create a network of Fay spies for them
to find other Fay
to help them detect other traitors w/in their gov. and it's forces
keep them posted on any escape plans w/in the internment camps
find out how powers work
harness their powers
discover a definitive test to see if Fay or not
find way to detect Fay
bioweapons to weaken/destroy powers of Fay exposed to it (permanently and temporarily)
bioweapons to make only Fay sick - uncover hidden Fay
Bioweapons in general
Propaganda/Claims
Against Fay b/c of
Internment camps for...
Political prisioners
Fay
Those in support of Fay
All of these because they constitute a threat to the current gov.s political power
Nationalist pride
Threat they pose to society, (specifically those of the original culture of the country, the main culture)
Their interests don't represent the interests of majority
their powers give them a disporportionate sway, power than what their pure numbers would give them - unequal, inequality
If one of them were to come into power it would be ruled against interests of majority AND harder to overthrow them b/c of their powers.
Troublemakers - start riots + make riots violent
Experiments....
Avoid any mention
When are mentioned...
downplay how common they are
for scientific research - human subjects
bioweapons against Fay
develop way to detect Fay
Way to stop powers, make them equal
Clara hiding beneath a wagon or something in the rain, laying down there hiding. Watch the rain and the soldiers boots, hear the splash of their feet as they run and come looking for her, where she's gone. They pass, but she stays there awhile in the puddle, scared to come out, waiting to make sure they don't come back, waiting til they give up. She shivers with fear, and somewhat with cold. Finally she picks up her wet head from the cobblestone and puddles, she emerges, her hair, her dress, sopping wet in the pouring rain, looking such the street-urchin little girl. The street is empty, flooded, and dark--the gray skies above casting little light on this town, the streetlamps coming on, their fires casting an eerie, comforting glow. She heads home, slipping her way swiftly through the streets, praying that the rain, the darkness, and her poverty would hide her from view. It did.
She made it home safely, climbing into the (car or caravan? before or after rurik?)
After Rurik (they're living in the car and an abandoned building):
Caravan: She made it home safely, her small hands, red with cold, pulled open the flimsy caravan door and she stepped inside. She looked like a sad, wet rag doll on the stairs, her clothes stuck to and hung from her frame, her hair dripped like waterfalls, and the lakes of her shoes were spreading to the floor, along with the thick goo of mud. The rain had washed all the mud from where she'd slipped and fell, off her dress and the blood from her scrapes off of her legs. She stood shivering, her feet seemingly glued to that spot by the cement of thick mud.
(Would Thoma be there waiting for her or out looking for her (consider his power) and what about Anna? for now they are both there waiting worriedly for her) Thoma and Anna run, appearing at the top of the steps, worried as hell. They both rush to attend to her, Anna weilding warm, dry towels, which they enveloped her with, embracing her, pulling her to them.
"Thank God." (italics) was all he could think, closing his eyes hard as he held her tightly, fearful tears slipping from his eyes. "I'm so glad you're back," he said, releasing her, looking into her eyes with such a deep devotion. Clara turned to Anna hugging her too. Anna picked her up in her arms, holding her close with her feet out. "We thought you'd never get home. I was afraid something had happened to you," she said. Hesitating, reading from her what had happened, she asked, "What were soldiers doing down near ____?"
"What?" Thoma asked surprized, removing Clara's wet and muddy boots--beneath, her feet were decorated with bright red blisters.
Clara tells her story "I was _____ and then I heard them coming and I ran so they wouldn't find me but they kept following me, I could still hear them so I had to hide."
"How long did you hide?"
"A long time"
"She was hiding under a wagon on the side of the road. She's been laying in that puddle for over an hour. We need to get her warm." Anna carried Clara into her room to get changed.
"They wouldn't go away, they were doing something at one of the houses there and I heard screaming. I didn't want to come out. I didn't want them to make me scream." Clara said as Anna helped her peel off her clothes and Thoma retrieved the warmest set of pajamas from her sack.
Anna looked into her eyes with sorrow, petting her head gently, hugging her to her once again. Clara sat on the edge of her bed next to Anna, her feet, covered in painful, red polkadots, hanging from the bed. Grabbing the safety kit from his room, Thoma took a seat on the floor, taking her little leg gently in his hand, inspecting it as Anna continued to talk to Clara and hugged her with plush blankets. With a clean wet towel, he wiped her feet off gently, removing the little dirt left and dabbed her blisters with alcohol. "This is going to sting, Clara" he warned her, looking into her eyes, "but we have to do this so that they'll be clean and won't get infected."
"Okay," she replied.
It stung a lot, but Clara didn't cry. She had made it this far, a little stinging wasn't anything after all she'd gone through today.
Thoma wrapped up her blisters, careful not to press too hard on them. Anna watched him as she combed the matts out of Clara's hair. His touch, his voice, and his eyes were so tender and gentle with her--everything softened. Nothing in the world meant more to Thoma than Clara; Anna often thought that, in a way, she was like his daughter. His father had abandoned her too in his eyes, and Thoma wanted nothing more than to take care of her, fill the holes his Father left them with, and give her the life he had always wanted as a child--he was determined to fill the hole his father had left in his heart with her and any hole Clara may ever feel, with him. She would never be lonely.
In another way though, one which Thoma would hate more than anything to admit, he still missed his father and yearned for him, and Clara had been his connection to him. His father asked him specifically to take care of this child and love her more than anything. Wanting to please his father, Thoma took on the job eagerly, raising her with his mother, singing her lullabyes, teaching her. Their bond was the strongest and the sweetest Anna had ever seen.
Idea: Maybe the soldiers find their temporary home, an abandoned building, and Clara had been there alone and saw that the soldiers were coming and went to go hide, or maybe she had been coming back to the place and then the soldiers were there so she hid under there, wanting to know what they were looking for and where to go and how to tell Anna and Thoma not to go in there--maybe thats why shes waiting--waiting to catch Thoma and Anna so they don't go in there and get caught by the gurad still in there waiting for them. Clara sees that Thoma and Anna will be coming back to it so that's why she waits.
Before...
Prejudice already, but not apparent in areas where they are seemingly not there
Discrimination
Discrimination becomes more outright
Discriminatory laws and measures begin being put into effect, gradually increase in severity + hate crimes begin
This all happens faster closer to capital and in areas where they were already pretty segregated
Starts to spread as they are framed for things & as they begin to flee to areas where they weren't before and cause problems just with their poverty and the sudden overpopulation and the competetion for jobs. Prejudice spreads to other places this way.
Economic difficulties increase even more >increases hatred and scapegoating and suspicions
hate crimes
Soldiers chasing Clara because caught her stealing?
Soldiers coming, barging into a house, raiding and pulling people out in the rain - Clara is across the street and knows that they'll not treat any witnesses well, especially an invisible street urchin like herself who they'd suspect was what she was.
Clara was going to visit a nice man or woman, like the one old man who helped Thoma but not him because they would have left that town after Thoma was better. Another one and then the soldiers came and she had to hide. She saw from under the cart the nice family get pulled out of their home and murdered. Maybe one of them falls to ground at some point, either dying or being killed, and they catch each other's eyes but neither says a thing, there's just the blind fear in the woman's eyes--really messes Clara up. Also would mess her up even more if she thinks it's her fault because she'd been visiting her too much and hadn't been as cautious lately and one of the neighbors told. Clara stays there for awhile, do they take the bodies with them, or leave them there on the path as a warning to anyone else? Will Clara be able to move without someone coming to get her, like Thoma knowing where she is, or Anna, knowing where she went sometimes? Anna wouldn't know to look under the car though would she? She would if she went to the house where the bodies are and sees the bodies and feels what happened and feels that the woman was looking Clara in the eyes right before she died. Anna needs to save Clara this time to build their relationship
What Happens Here...
Clara was going to visit a nice woman/family that helps her and others like her sometimes
Clara hears the soldiers coming as she's in front of the house - hides quickly under the car in front of the house
Soldiers break down door of house, pull family/woman out in street screaming, beating them, trying to get information out of them
Eye contact at some point when woman is on ground. The woman's eyes are full of fear. She dies looking into Clara's eyes
Some of the blood washes off of the sidewalk and under the car with Clara
Soldiers leave woman as she died and the rest of the family
Clara is too scared to move, stays there looking into the woman's eyes for an hour at least
Anna & Thoma are worried, where is she? It's getting dark and it's rainy.
Thoma can't find Clara b/c... Clara isn't enough in her mind for him to know where she is, just that something is wrong
Anna stumbles upon a trail of where Clara had often visited and feels she had been there earlier that day too
Anna follows it to house
Sees dead bodies, reads what happened
Knows the woman died looking into Clara's eyes
Discovers Clara under car still
She worked as a nurse in another war? He helped her group?
Save father and mother from concentration/internment camp, get out of the country. At the end, maybe the epilogue, have them all go back to their old home, their old village now that by that time (maybe years after they left the country and the war was over) and go back to life, but it'll never be the way it was before. They have Thoma's Dad now and Anna may live with Thoma and Clara now, maybe everyone decides to live together. Or Anna and her Dad if he made it, move back into the little town nearer to Thoma and Clara and everyone. Anyways, would show how, although things can never be the way they were, shows how life is so resilient. How we can rise against everything, anything and life can still continue.
Anna's Dad may have killed himself, or sacrificed himself. Maybe he told Thoma's mom he was going to kill himself and she might as well accuse him of being Fay to save herself.
Ghosts that we knew - mumford and sons
Fire Away - Dawes
Thoma carrying a candle in a mason jar, sits down next to Anna on the bed. It's raining and the wind is howling up a storm late at night outside her window.
"So why didn't you tell me?" he asked her.
Thoma and Anna pretend to run away from home to get married.
Fake Clara's death.
?
Which First?
IF Thoma and Anna run off first, have them hide live in woods at old secret hideout for awhile.
IF Clara "dies" first, she'll stay hidden in the house for awhile until Anna and Thoma leave, she will be hidden in a bag looking like a bag of clothes.
Thoma could pretend that he blamed his mother for Clara's death (for letting her play somewhere that was dangerous or something) and that was why he so heartlessly left his mother so soon after she had just lost another child. But that doesn't set the marriagey tone though maybe.
At the funeral Thoma would also get a chance to display to the town that he and Anna are "together" (holding hands, and her comforting him) and that he is grief-stiken (tears will be about leaving his mom and town really) and can't live in this town anymore b/c of the constant reminders of Clara, and that he's mad at his Mother for letting her play wherever she died. This scene of the fight between him and mother will play out not in the main part of the funeral but as if trying to fight away from people and not in public, like around in a corner of the church before or after the funeral, and also loudly inside their house and in garden where neighbors can hear it--she'll pull him aside and say something about how she didn't approve of Thoma's holding Anna's hand all the time and thought they were doing things they weren't doing and it was inappropriate, Thoma will react telling her he can hold whoever's hand he wants and that they hadn't done anything wrong and saying he should be yelling at her for letting Clara play near wherever or not watching her, saying it's all her fault and that Clara was one of the most important things in his world and she took that away and Anna was also one of the most important things in his life and he's in love with her and that "if you want to take that away from me to, then I just won't be a part of your life anymore". Then he will storm off and she'll try to call him back and he'll ignore her, Anna will catch up with him outside, (she was already outside ahead of him because his mom had called him over for a second) and ask him what's wrong and he'll just not want to talk about it cause he's angry and they hold hands and leave (the church, not town yet) and Anna looks back worriedly at his mother, and then back to him, tending to him. The whole town will hear about it. Later Thoma will pretend to avoid his mother at home and around the house and give her the angry silent treatent, she'll cry a lot, and when they do interact really she'll have to grab his arm or bring something up that is just unavoidable that he'll give a reaction (an angry one) and then they'll fight and he'll run off again. This will continue for about 2 days. Also Anna's father will come up to Thoma, hearing about his courting his daughter and the rumors he heard from his mother and how it's innapropriate until they are married and he doesn't appreciate him using his daughter like that, making a fool of her and Thoma will respond, I'm not making a fool of her, we haven't done anything yet and we intend to married. Father will respond, what do you mean? You're not getting married now? Thoma will reply, within the month. He will appear muffed and respond, She didn't tell me! I haven't given you my permission. Thoma responds, I don't need it. We can marry whoever we want, and I want to marry Anna, I want to spend the rest of my life with her, and so does she. At that Thoma walks off and Father cries "what about your mother? how can you leave her at such a bad time in--" Thoma responds "What about my sister?! Because of that woman, Clara is dead. That's her fault; so is this. I won't lose Anna too, she can't keep me from marrying her, rumors or not." walks off. That night Thoma and Anna "run off together," leaving notes for their parents.
The running away together thing is brilliant too because the town has been seeing Thoma and Anna together a lot more lately (b/c of them talking things over - emotionally and strategically) and this provides a good explaination. Also may have gotten idea for this from actual rumors that the 2 of them were courting.
Fake Clara's death.
Thoma and Anna pretend to run away from home to get married.
Make way to a friend of either both Thoma's parents or Thoma's father.
Find this friend. Find out the state of things and advice on what to do. Have to leave earlier than expected.
What are they expecting from him exactly? Information about where to go from there? Or a hideout?
Do they maybe expect a hideout b/c they just misunderstood the info they were given by father? - Nah, they'll understand that it's spreading everywhere, have to get out of country somehow.
Their Expectations: Know can't stay with him, but are expecting to be able to stay longer
Thoma starts reading journals, secretly
Thoma asks friend about Father and what it's like living a life like his Father's.
Join Rurik on Caravan
Rurik makes them start stealing things and playing on the street for money and selling stolen goods.
He meets resistance at first for doing any of this, but gradually they give in to more and more.
He also brings up the one valid point that life is expensive and stealing is unavoidable at some point when you're on the run + paying means paying the government that's after them (taxes), not just the owners.
He helps them out at first with stealing by using his ability on them to make it easier for them to do it. Trains them this way until he thinks they can do it without help of his power (whether they think they're ready or not).
Then teaches them other methods of stealing other than being unnoticeable such as the use of distraction or seduction. Sometimes Anna works alone as the distractor, sometimes they work as a team.
He wants Anna to be the distraction and basically wants her to act like a whore cause he thinks of all women that way and hates them.
Anna notices/gathers this when he tells her to do that--she gets a feel for his past with women, especially including his caretaker or his father's consorts and him having to see either his mother or his father having sex with someone (other than each other). Anna betrays her vision in her eyes reaction. He notices.
She either says I'm sorry and he hates that, or, more likely, he just gathers that she can read pasts by asking them all what their abilities are pretending to ask to see how they could utilize them.
When Rurik tells Anna to be all seductive with men to get real close to them and slip out their wallets, Thoma immediately says no and puts his foot down. He finally ends up giving in to having her be the seductive distraction while they work as a team because it's safer and a little less demeaning.
When Rurik tells them to divide up to cover more ground and get more $, Thoma puts his foot down again. He will not let Clara work alone. Rurik doesn't back down, but Thoma intelligently argues with him, pointing out that it's better for them all if Clara isn't alone because not only is it risky that they would lose her which would also mean they would lose potential profit in the future, but because it looks too suspicious. (Although maybe not suspicious enough)
Either
:
A)

this works and Rurik allows Clara to be paired with one of them, or
B)
he doesn't and Thoma disobeys anyways and

Rurik finds out and gets in a fight with Thoma and beats Thoma up repeatedly, yet Thoma does not give in no matter how many times or how hard he beats him so eventualluy Rurik gives up.
Anna notices through both of these challenges Rurik's need for control and anger at Thoma's challenge to it. She gets a brief glimpse into his childhood.
OR
Rurik claims Anna isn't bringing in enough money (this includes not only when she's working on her own but also when they are working as a team he says she's not a good enough distraction)
By saying she's not a good enough distraction he is not only trying to force her to act more slutty but also implying that she's not pretty enough.
He uses this as his excuse to then tell her to go out and do some work at night to make up for it. He also makes it clear that Thoma is not to know, claiming that it's for Thoma's safety so he doesn't get beat up again rather than b/c Rurik is afraid he can't win this fight. He intimidates her into doing it and not telling Thoma by sneaking up on her and smiling all creepy and cornering her, purposely scaring her. (This is his way of getting back at her getting control of her after feeling like she has control over him for what she knows, and knowing his weaknesses) She also is scared b/c she knows how important control is to him and that if she didn't, something worse might happen b/c it's so important and he's so intent.
As Rurik and Thoma's fights lead to Rurik betraying more and more memories to Anna, Rurik becomes increasingly hostile to Anna and her tasks become increasingly demeaning and dangerous in his attempt to feel more control over her and himself.
(Rurik knows she feels these memories b/c he is especially sensitive to people's attentions b/c of his power)
Thoma notices somethings up with Anna
Anna almost gets raped, Thoma saves her, finds out exactly what's been going on and why she didn't tell.
Thoma confronts rurik about the Anna thing. Thoma gets beat up.
Rurik attempts to have the Anna thing continue? but Anna avoids him and Thoma stays with her and tells Rurik she's not going.
Rurik can't win because Thoma is not moving on the issue at all, so instead he punishes Thoma by making him do a bunch of hard, long, and possibly dangerous extra jobs to make up for the money Anna would normally earn.
when Rurik says someone brought in less money and they all know it was a lie and have the numbers to compare he says stuff like you callin me a liar? and tries to intimidate them into saying he's right. Thoma's reaction: you can't argue with facts, you can't intimidate facts, it doesn't work that way, they're either right or not no matter how you feel about them, (states whatever fact). Rurik gets mad and beats him up for not just doing what he's told.
Clara tries to save up some of her earnings for awhile for whatever reason (probably to help Thoma and Anna)
Rurik somehow finds out Clara's taking some of her money.
Thoma isn't there when Rurik's found out and confronts her. Rurik slaps Clara hard and is going to slap her again.
Thoma feels this and comes running in.
Normally Thoma is around Clara all the time or nearby and knows exactly where she and wher Rurik are. In the past this is how Thoma made extra sure Rurik never hurt Clara or bothered her. Whenever Rurik tried to get after her he would stand in the way and end up getting the beating for her.
Note, now that he has less time and different jobs than the others, he isn't around as close or as much.
Rurik and Thoma fight
Clara goes to get Anna, she is scared, she could see that Thoma would need medical help but she could not see if he would survive b/c of the overpowering fear.
Rurik stabs Thoma, Thoma starts bleeding to death
Rurik leaves to go to bar.
Anna and Clara return to the caravan. Anna finds Thoma, he is starting to see things from the otherside, he is dying. She wraps his wound tightly (once she finds it since so much is covered in blood) grabs the copied list of contacts and puts him into a car she and clara stole on the way over. They drive him to the Doctor Clara met.
can't drive too fast or appear too conspicuois and draw attention--luckily it's raining so hard no one sees Thoma in the backseat bleeding.
Doctor, Charles?, takes them in secretly, hiding them in his attic. Seals up Thoma's wound, gives him a transfusion, and nurses him back to health mostly until he's healthy enough that they can all get back to traveling.
Use this time to figure out exactly where to go from here (remember they don't have Rurik's power to help them anymore, they have to be more careful and avoid certain roads and cities. They'll need to hike a lot and hide, can't drive too much. But they have to go slow for Thoma since he's recovering.
Charles may be a part of the rebellion/alliance thing and have some way to get them out of the city on something other than legs without getting caught and so Rurik won't find them in the city or walking the countryside near it b/c him and the authorities will be looking for them. He also may have turned in the list to the authorities as well so they don't know if those contacts are safe (and even if he didn't you never know and it's more of a risk to check now that they don't have ruriks power to protect them as they do)
Charles also would give them info about where certain bases and dangerous areas were.
They find Thoma's father, not knowing it's him, except for Anna who he gives a sign to stay quiet about it. They know he's from the rebellion or the alliance or whatever thing (Maybe Dr Charles was in it and told them about it and gave contacts, ones that weren't on the list)
>Their escape from the city and surrounding areas<
somehow avoiding Rurik or authorities on the alert (who will be checking vehicles leaving the city now)
get far away from city
HOW?
MAYBE Thoma's father asked his friends in the alliance to lookout for kids matching their description and to have them led to him (if he was still closer to the border than them)
Although he will be stationed somewhere dangerous watching something and he won't want to pull them into that.
Maybe charles knows it's them and although father may not have asked, reccomends that they go see him.
At some point before fight, Clara witnesses death of that woman. She'll need to have time to herself so either has to happen when still with Rurik after Thoma confronts him about the Anna thing. Or after Rurik gone sometime.
This allows Clara to have time to herself to explore and meet people (i.e. the woman that gets murdered & Charles)
(however, she wouldn't necessarily have to already know the woman (although Anna needs to be able to feel Clara's path to find her and it would be easier if she took it more than once, plus if Clara had been there before she'd feel guilty like it was her fault and would understand that people who help them can be in just as much danger as themselves.)
If Clara is to see the woman get murdered before leave Rurik, this will make Thoma even more angry at Rurik when he strikes her!
Clara's a lot quieter and reserved and sad after that and Thoma really does not like leaving her alone or leaving her at all, but he has to leave her with Anna when he's busy working and can't get away. He tried getting away from his work he's supposed to do and staying with Clara anyways more, but he can only do so much of that or Rurik knows and beats him up again.
Maybe Clara starts saving up her own money then to help Thoma cover up his skipping out on his job and be with her.
Also, Clara may not be able to work or leave her room for a whole day at least and they definitely will not leave her like that so they stay too and rurik gets VERY mad. Rurik tries to beat up Anna as well as Thoma, Thoma doesn't like that and tries to stop him but can only do so much and Anna doesn't want him to do that and get more hurt. They both get really hurt. Thoma though, knows that Rurik would react that way and is prepared with a frying pan and really hurts Rurik and maybe makes the beatings end sooner that way.
Rurik gets very mad when he finds out that Thoma wasn't doing his work (when he's out looking for Clara cause he feels somethings wrong)
Thoma will get yelled at and Thoma will yell back of course this time and he'll get beat up again.
Thoma's father taken
Thoma the one to discover this, finds out then that it was his father
No idea when but
Anna doing scout work, the little girl she tries to save and fails to, gets hurt too and shocked lies in the ditch, glass in her skin, find the notes you wrote on this - obviously not hammered out yet.
Thoma gets mad at Anna for not telling him

she feels awful/guilty but also frustrated b/c she also feels like she didn't do anything wrong considering she didn't know that would happen. She's also angry b/c he was really important to her too and she's jealous that he got to meet him at all even if he didn't know and she'll never know her mom
Remember, sometimes understatement is most powerful, rather than stating every emotion with the upmost precision. Especially powerful with feeling of emptiness. Can convey emotion with description of surroundings or whatever other than their emotions or actions with a twist that conveys that emotion.
After Clara sees the woman get murdered, she might get sick the next day, a fever and cough. Another reason Thoma and Anna will try to stay home. Rurik will come in and ask them what the hell they're doing and they'll angrily say, she's sick, and she's just seen a woman murdered, we're staying home with her. Anna feels his past, all the times he was left to fend for himself when he was sick or bad things happened to him, in fact he was treated worse then. Anna knows too that if one of them has to leave then it'd have to be her because somebody that could defend Clara would need to stay behind, or rather, someone who Rurik wouldn't challenge to hurt her would have to stay and that would be thoma, plus Clara would want him b/c they're closer. Anna will leave and go steal medicine for Clara.
Thoma poses the argument that if someone doesn't stay his little worker won't get better very fast and back on her feet ready to work more.
Thoma is crying (not just angry tears) but also angry
Sometimes Anna sings Clara to sleep, esp when she is upset. Sings when Thoma is sick, after see woman killed, when she misses her mom
Anna
smart about political stuff
emotionally smart
good with her hands, smart, inventive at making and fixing things - loves it!
good listener but also more outgoing than I was, or at least she's less nervous or inside her head maybe
Likes to make art
Likes science and making instruments for it? Compass, figuring out how it works, chemicals, medicines how they work and mix
How to use certain normal weeds, plants, garden things, crops, etc. and how to make chemicals and medicines from them
studious
thinks a lot about her quiet dad
has a workshop with lots of herbs and chemicals and inventions she's working on
likes carving? does it for making things at least but also for elven sorta esque art, very nature oriented in art
keeps things she knows to herself a lot until she thinks it's the right time to tell the person or help them, but has learned or decided that people have to work towards it some themselves first before she gives them too much advice or insight she's noticed. Just cause she knows that so and so did something and she knew doesn't mean she can tell her friend about it. She keeps people's secrets to herself because she doesn't believe she has the right to share them with other people, at least not completely. She tells THoma the most but her other friends she can't tell as much because she can't tell them why/how she knows (although maybe she has told them in a way like "psychic" not meaning fay but they'll later guess and that's why they left just in case) so it's a habit also because of that too. But she tells Thoma what she thinks about people and how she feels for them and how they're doing cause it's a big part of her life the way she relates to people and also people entertain her too, they do funny things and she likes to watch them grow. She and Thoma will sit and talk about them she'll update him about people and how she feels about their psychology and strangers coming into her shop and stuff too while she and him are out alone maybe in feild leaning against a tree or shed with a picnic or something they've made a snack while she works on making something, maybe a basket or carving something for him or Clara or her Father or fashioning a new compass (she does metal work too by the way!) or something while THoma listens and plays violin or something and asks her things about people and gives his own input too, small input or his view of these other people's views or lifestyles. Maybe sometimes fixing his violin for him or figuring out what type of material makes better strings and what kind of wood and strings makes what kind of sound - they work on that kind of project together cause he knows more about music and what he wants it to sound like and she knows how to make things or where to get things. Thoma also tells her about his jobs, his delivering and stuff and new customers of his that she hasn't met and she gives her input based on her knowledge of other people and stuff. He also talks about his plants he grows and oh he brings her things she asks for when he goes traveling for delivering job if she describes what she needs or even if she doesn't ask but he finds it. Brings her plants too.
Works on making better wine and beer and stuff too - science, chemicals
knows a lot about ghosts and goes ghost hunting - also always one telling ghost stories in their community for the kids and people she's comfortable around
likes to canoe around
Thoma
violin
piano
sings
works feilds
Clara
nature
canoeing, hiking
good with farming and some cooking and or baking and knows crops well
loves traveling around, does it for his job too
loves biking - maybe races?
history?
exploring
Anna has taught him some bike stuff
works on violins and what kind of wood and stuff is best for what sound and what sounds best for what
likes to learn about other people in different places and learn about new recipes and foods and crops and try it out on family and people
studies other types of Fay? history
politics?
philosophy?
likes to teach Clara things
learns about different herbs, how to grow them, where they grow best, what type of nutrients
Animals? - I guess that's more for Clara maybe?
knows how to make shoes, cobble?
Thoma and Anna would experiment with paranormal stuff with Anna and dif. materials for protection, magnification of things, dif. effects.
Anna collects objects and stuff. Has them and stories and stuff and characters in her head.
Anna makes dif necklaces to help her - have dif herbs and materials to help her - maybe this scared their parents though cause thought people would realise or suspect something.
Does she make instrument to detect ghosts or something? Or to record results of what physically happens (to her and around her in the atmosphere) when she does certain paranormal things to try to understand the science behind it. Record maybe that for example she cognitively feels cold and see if this matches her temp or the temp around them.
Also Thoma keeps a journal of when he feels things about Anna and she sees if she thinks she felt something to signal that, maybe keeps record of when she thinks she feels he might have too to see if also thought he did when he didn't. Also they do this with Thoma's mom too (if anything eventful happens to allow this) and see if there's a difference in her not feeling Thoma and Anna feeling it. Maybe sometimes Anna can feel it and other times not, depending on how preoccupied she is and how strongly Thoma feels it. Maybe this also means that they will purposely and voluntarily put Anna in scary situations (often ones that only feel scary but aren't actually maybe) to do this and their parents wouldn't like this if find out (would probably only find out if something happened, if she really got hurt in these).
Did they ever try to find a way to determine how to detect other fay?
If use 3rd person limited, then use it with Thoma as main character. Can have him realize when Anna has visions and know how affect her cause sees it on her face or feels how it affects her. If feel need to, can have it from her POV when she's alone and he's not there but I think you can get away with him just figuring out what's been going on with her when he's not there. For example, when she starts having nightmare getting taken over in sleep then only show part where he comes in and what he dreams; when she is going out every night in skimpy clothes he finds out the night when he saves her from mob (and also then doesn't know if it's happened before when he's not there so he seems possibly even more justified in his getting so angry at Rurik and Anna becomes more mysterious and brave looking to reader as well as Thoma.
Only thing I already see a problem where I might want to have Anna's POV is when she's talking to the father one on one maybe cause you really won't find out about what she talks about with him specifically from later on. It could add to the mystery of Anna that you don't know though and only get hints. Hints like how you find out that she talked to him one on one; she gets defensive about how he at least got to talk to his father even if he didn't know it was him and she never will with her mom, all she gets are memories and can't really find those; she wasn't as close to any of her parents as he was with his as hinted by her saying she wished her father was like his or like his mother or he was like a father to her, more so than her own in some ways;
How parent situation was worse for Anna...
unlike Thoma, will never get chance to even unknowingly talk to and get to know mom
Her dad was mysterious and kept to himself and was often gone for long periods of time (it was his work that he had since before mom died and he didn't have any other way to work and didn't know how to fix it, maybe that's how settled on living in town near Thoma's mom, because she was an old friend of his wife's or her husband was or they were both old friends) anyways, he was often gone long periods of time and never great with emotions so really Anna was emotionally isolated--she was closer to Thoma's mom in some ways but in others she couldn't find a way to be as close to her as Thoma was (maybe for Anna's own inability to be so emotionally close cause not much experience just want to do it, not know how) Anna resents that she is closer to both of his parents than either of her own. That she is alone in so many ways in the world. That Thoma and Clara and their mom was more her family than anyone and yet she was sitll somewhat seperate. Also maybe one of her neighbors she's real close to but can't tell them anything about where they're going or what doing and it hurts and maybe Thoma doesn't know about this. How did Anna feel about Clara when she first came? Did she attach to her because she's not a part of their family either and no parents or was she jealous because she wasn't a part of their family and still was accepted full-heartedly and grew up as if she were and Anna never got to do that and wished that had happened to her instead of getting her Dad.
for Thoma...
Didn't know it was his Dad til after so didn't get to talk to him about things he needed/wanted to with him - things he needed resolved.
More of an emotional tease, hurt that his father wasn't around but could if he wanted to - harder to deal with so more need to talk to him.
Other things Anna says when Thoma's Dad gone...
You know I was close to him too, I miss him too - he was like another father to me
Thoma says also...
Yeah you never had your mom but at least you had a mother figure, my mom. I never really had a father figure, your Dad was never one to talk much or get involved in anything and he was always gone
(Anna's response to the above specifically would be well, yeah, imagine living with him--he's a little more social and concerned but he's not always there physically and he's not there enough emotionally and she didn't really have anybody else but Thoma and his family, but still it's harder to be as close with his mom as she would be if it was her mom because she's not as close all the time proximity wise and she wouldn't ask as many questions about what Anna's going through. Less one on one time. Less prying. Less time together. It wasn't exactly the same. Esp. if it was something between Thoma and Anna there wasn't as much of a go between)
They told people they were family (like siblings) it wasn't true but it might as well have been--Anna grew up more in Thoma's house than her own.
Rurik say to Thoma, Does it bother you that she tells everyone you're family?
Anna tells people that they're family when they travel - she does this b/c she wishes she was a part of their family, that she had a family, and they are the closest thing she had to a functional family and she'd spent so much time around them that she might as well be that except by blood (and also she knows but doesn't say it, the fact that she emotionally feels more seperated from them than would like or be).
Thoma goes along with it on trip cause makes sense but secretly it hurts him inside because he fears she sees him that way and not the way that he sees her.
Rurik finds out eventually that they're not family if they don't explicitly tell him they're not (cause why tell him the truth if he might get captured and rat they think in the beginning) - maybe Anna thinks this and tells Rurik they are family and Thoma just goes along with it but this one is the one that hurts him the most. Maybe Rurik realises Anna calls them family because of why she does it and he realises b/c he felt a sense of seperation and a desire to be closer to others also when he was smaller though he'd never admit it. He once wanted to be accepted by these older boys in a gang at foster care boys home thing and tried everything did anything to get in but they only made a fool of him.
Rurik knows though too or assumes that Thoma likes Anna and knows it bothers him when she calls them that and he teases Thoma about it. She doesn't feel that way about you. She knows you do, she just wants to tease you, she wants you to know. She
After seeing that woman die does this affect Clara's abilities for a time? Does it inhibit them or make them extra sensitive to certain things? Or does it not have an effect at all on abilities? Maybe a better way to put it is that she's not trying to see the future so much and what little she vaguely gets is all the vaguely bad sad vibes that are to be expected anyways. And she's often just seperating herself from this world for world in her head, meditation, curling up and sitting alone; doesn't want much food. Might need to share bed with Thoma a lot. And maybe they'll have Anna stay in their compartment while Clara's going through this cause she needs so often to sing her to sleep and Clara has nightmares about both Anna and Thoma dying so it's better to have the both of them there when she wakes up.
There's a lot of fighting with Rurik after Clara's incident. Thoma is extra protective of his sister, Anna stands up more now that it's for someone other than herself esp. someone vulnerable. and of course Clara too needs more protecting. And with the unexpected and vicious assertive daring protective zeal of BOTH Anna and of course Thoma, Rurik is taken aback a bit and doesn't know exactly how to respond because he realises he can't push too far and since there's two of them willing to fight him it'd be harder, especially because they're so much faster than him. He has to compromise and punish them too for him having to compromise at all.
Then it builds up until Rurik hits Clara when she's finally alone in the caravan when he happened to be coming in. Maybe he sees her sneaking coins from the day into her room to hide and keep for herself and that's when he hits her.
Reason Clara starts saving $ b/c she sees that they can't trust Rurik for much longer--she knows he's decided never to take them to where they need to be. The others know too but have tried to keep this from her cause don't want to give her more nightmares. She wants to help and this is the way she knows how to help. She also knows that a possible future with Rurik would include him turning them in for $ and benefits if he continues to do stuff like this for government. He's thought a lot about it so she knows soon they will have to leave but wants to get more $ first to prepare.
Thoma
Music (violin, piano, flute, bohran)
couldn't afford a cello
cooking
combining medicinal herbs into good cooking recipes.
Growing, caring for things
Anna
Singing
metalwork
lockpicking
mechanical things if not too complex. Cars...caravans
Herbs & stones to help with paranormal things, her abilities, etc.
Both learned a bit about nursing from Thoma's mom. So medicinal herbs and how to treat medical conditions. But THOMA knows much more.
Both good at reading people either by their past or their present. Anna has more to work with and hers involves less need to look for these things--so ANNA's much better.
Maybe fear doesn't get in the way at all, cause that wouldn't be good for survival. Fear just takes the ability to control them away, weakens it.
BUT, when Thoma is dying Clara's power doesn't work because the future hasn't been decided yet because it could go either way easily--she realizes this is what's going on too and this really scares her cause it could be so easy to go wrong and there's no certainty or safety for once.
Thoma's Mom getting letters from Thoma's father.
Thoma's mom gets worrying letter.
Thoma feels mom getting upset about a letter
Thoma frowns and tells Anna he has to check on his mom--another letter from dad.
Thoma finishes deliveries between his town and another farther off. (delivers from his to them, then from them to his.)
BTW...Mail packed in bulk (that's why didn't search for a letter to hide)
Thoma finds Anna to hang out.
Thoma goes home. Senses mom in kitchen waiting for him. They talk about the letter(s).
Thoma goes to find Anna to tell her about the news/letter.
Anna's reaction?
Make plans
When tell Clara? How and how much?
Before tell Clara, Clara knows something's up, can sense it in everyone. Wonders why won't tell her. Starts wondering about it and FUTURE.
When younger they have a bit of every ability, but then those exercised the most are the ones that remain and others wither and disappear or become much weaker. Like sounds our languages don't use.
Rurik
can manipulate others focus to render self unnoticable to point of near invisibility.
cannot manipulate focus to make himself noticeable though. Can make other things more noticeable however.
Past...
neglected by parents
mother favored his brother, mostly ignored him
b/c fay ran in her family & brother showed more interest in that heritage, more love of nature, and more talented and clever with magic. Rurik was not as
Brother younger, mother more protective of him cause smaller.
Rurik older, so father more harsh on him and expect more hard chores and tough attitude from him.
bullied a lot
abused by father
abused in orphanage
often avoided further bullying and abuse by pointing out worse weaker things in brother (or others, but esp. brother.) so they'd turn to them and leave him alone.
Thoma's Father
sense whether Fay or not
sense strong feelings towards Fay
sense what Fay abilities are
for kids with undistinguished abilities, senses all abilities and which most used and strong.
Knows Thoma will always wonder where his father is, a lot, esp. around age where abilities are developing. Knows then that it could be dangerous to visit Thoma too much cause it would mean Thoma would have stronger connection to him to use to find him, which would bring him into danger.
Thoma's Father grew up in places where very segregated and prejudiced.
Fake Clara's death
Thoma's family talks to trusted old, sick man and tell him plan and involve him to make more believable.
Will have him witness it or find her.
Funeral
Closed casket
Thoma and Anna holding hands
Thoma distant from mother
Thoma & mother fight afterwards, outside in "private"
Mother yells at Thoma for daring to go against her wishes at her child's funeral. (Holding Anna's hand)
Thoma blames mother for Clara's death
Thoma defiant and mad at her disapproval and says she has no right to tell him what to do when she didn't do what SHE was supposed to do which resulted in Clara's death
Does Clara know anything about what they are?
After incident where couldn't find Clara cause she was in trance and traumatized, Thoma gives her something very dear to him that he was very connected to so that he could always find her by that if not be her herself.
Makes something (see ideas below) into a necklace or something:
favorite stone--maybe carved into something
something his mother gave him a long time ago
locket
stone heart
the letter that came with Clara telling Thoma about her and to look after her
he would have looked over it a thousand times both when he still liked his father and when he was angry with him, and in between.
Something Anna made for him (with the help of her metalworking or woodcarving neighbor) when they were little
little "T" necklace
necklace--neat rock she found wrapped in wire
Anna made friendship bracelets--made out of string, rock beads (they drilled a hole through some cool rocks they'd found together), buttons and a key they'd found in an abandoned place, carved wooden beads, and a rough flat metal bead with a T carved into it by Anna (so a bit messy).
In the night, Anna and Thoma "run away together to elope"
Sneak Clara out with them into the night in one of the bags they take with them when leaving.
Leave empty bag somewhere afterwards, or roll it up and put in other bags.
Casket made
Undertaker confirms Clara's death, puts her in casket.
Anna picks the lock, breaks in and takes Clara out while undertaker is distracted or busy. Replaces Clara with sandbags of same weight as Clara.
????????????????
Thoma's parents marry.
Thoma is born.
Thoma's Dad finds out they're looking for him again. To protect family, he leaves them.
Thoma's mom moves back home with Thoma, into her mother's house. Tells everyone her husband died, moved back cause missed home and needed help with baby.
Anna's mom's parents die. Thoma's Dad's family adopts her at young age for both. Thoma's Dad is a few years older than Anna's mom.
Thoma's mom has a blonde sister
Anna's mom and Thoma's Dad grow up like siblings.
Anna is born. Anna's mom dies in childbirth.
Anna's parents marry and move back to his town
Anna's Dad meets Anna's mom, while trading on river, fall in love.
Thoma's mom meets Thoma's Dad when she's gone away to study medicine. (they have a sort of med school but also mostly shadow a doctor somewhere too)
Thoma's mom and Anna's Dad grow up in same town.
Need to develop Anna's dad more. What was he like before a hermit, quiet? Are Thoma's mom and him just friends of convenience and need?
Anna stays with Thoma's family while Dad gone on long trip.
Nightmare--Thoma senses it, wakes her up. They talk about:
their parents and dads
their powers
They warm up to each other. Become best friends after that, always playing together, share secrets, talk about things that bother them, talk about their missing parents and Anna's dad and sometimes Thoma's mom (Anna wishes she were her mom + Thoma's noticing her watching the mail and when she's sad, thinking about him, looking at old pictures and when she feels alone but then she tries to push through and overcome it for Thoma.)
Anna's Dad moves into bigger town not far down road where he works on the docks, trading.
Thoma's mom finds it hard keeping all these secrets about Thoma's dad and what they are. He tells her later about Anna's Dad, gives her his first name and his address to write to him since similar situations.
Anna's dad and Thoma's mom become pen pals.
Anna's Dad and Thoma's Mom eventually realize already knew of each other, from same hometown. (didn't know each others full names when pen pals).
They agree to meet in person and have families get to know each other--visits every so often. Tell other people it's because they're family by their spouses.
Anna & Thoma, 5/6ish yrs
Thoma & Anna are initially pretty shy of each other--secretly curious, but also a bit just indifferent cause don't understand how they're supposed to be connected. To them it's just another random kid, don't know whether they like each other or not.
They play a little bit together while parents talking inside, but not much. Mostly both just playing in same area.
Also a bit wary of each other because they know the adults expect them to play together but they don't know why and they are jealous that their parents are showing an interest in another kid besides them.
Anna's neighbor looks after her when her father is gone.
Anna's neighbor and Anna are close. Like Malcolm.
experiments
pretend
play in forest and river, explore, build forts, camp out in backyard, camping trips
snooping
"sleuthing"
fishing
baking on holidays and for school projects and birthdays
hide and seek
trying to find out more about parents by snooping through stuff and experiments with their powers.
learning to boat
exploring
making things--crafts
playing instruments + singing
biking, traveling
picnicing
Both like to read--very into the books and characters
writing songs/poems
share them often. write them in a book, dog ear the pages thought worth a look. Sometimes the other makes comments in margins, revisions on opposite page.
art
Thoma's Dad finds orphan.
Sends letter about Clara to Thoma's mom.
Clara is dropped off in front of church. Thoma's mom is ready early to pick her up from church (doesn't want anyone else to think of taking her)
Thoma's mom brings Clara home and introduces her to Thoma and lets him read the letter from his dad. Thoma is excited. He and his mom name her Clara, together.
Clara, 0
Thoma & Anna, 8/9ish
Join Rurik
Rurik catches Clara keeping some of profit
Rurik slaps Clara
Thoma runs in, stops Rurik hitting her again.
Thoma and Rurik Fight
Rurik stabs Thoma
....b/c something could happen
Rurik throws towels at Thoma and brush and bucket of water to clean up the mess
Thoma tells Clara to leave
Clara doesn't leave immediately
Thoma tries to defend self with knife. Rurik takes it and tells him not to play with knives because.....
Clara leaves to go find Anna
Tells Clara where to find Anna and to find Anna
Thoma knows the fight may not turn out as great as he'd like cause Clara knows that. But Clara realizes it more than he does. more scared and less held back.
Hypovolemic shock
Anna
vaguely aware--vignettes of rain as get out of car at curb downtown, narrow brick buildings, being carried. slam of fists against a wooden door. slumped in Anna's arms, red mixing with the rain. cold, cold in the rain, shivers. inside. fire, warmth. wood. quilts. fear, kind doctors eyes. stairs. from wet dirty into a clean bed, piles of blankets like mountains. tubes, needles, rushing in with bags of red. vague feeling of hands on his chest, bandages. locked doors. worry in their voices. rough, warm, doctor's hands dance across him. can't stay awake.
car ride
days later....
wakes up.
Anna's there. is clara asleep curled up next to him? Anna in doorway, or in chair beside him? Petting his head, doesn't realise yet he's awake or is she looking at him this moment? Tears in eyes? tired eyes? tired sad drained eyes? Starts crying, laugh, smiling when sees he's awake? Clara away or asleep and they get talk alone first? Clara hasn't hardly left his side except to go to the bathroom.
Anna holding a hand, petting back his hair, singing to him (maybe), sees he's awake, cries in relief, head on bed, holding hand tighter. Just relieved. Neither talk, just are. He holds her hand back (rather than just a loose hand), pets her hair as she cries into the blankets.
what does she sing if sings? something she wrote or an appropriate song? you're killing yourself, you're killing yourself doctor a blackbird with broken wings there you lie so lovely pulled your body from the scene, barely breathing pulse beating slow fighting til you can't breathe my little blackbird, trying to fly with broken wings doctor lays you down to rest on a bed of grass against the wind with broken wings my blackbird, my blackbird, call Flying in, with feathers clipped, into the wind, with Feathers clipped you fly in, into the wind broken wings. My little blackbird fly. we laid your body limp, in a bed of grass Fly blackbird, fly.
My little blackbird, flying
against the wind
with clipped feathers
and broken wings.
I pulled your body from the scene
light and bloody,
limp in my arms
I called the doctor
and laid you down
A bed of grass, so soft
so green
there you lie
eyes shut tight
pulse thready and weak.
Sing little blackbird, sing
for the world grows darker
when you are gone.
Clara's not there awake when he wakes up only because she crashed cause wouldn't sleep for longest time. By his side whole time, awake. Nightmares too so afraid to go to sleep. Anna's pretty sleep deprived too because she's been taking care of Clara, singing to her, and worried about Thoma. But she's slept more because she accepted that Thoma was safe and knew she had to sleep to be able to be awake and functioning when he woke up. Plus she was so emotionally exhausted and was just relieved that he was safe and recovering now.
They have to stay a few days after he wakes up, time for him to recover and for them to plan. Plus, talking to Doctor.
Thoma asks her how she knew to trust the doctor. She said she wasn't sure. Clara wasn't focused on whether trustworthy as much as saving brother at the time so she had to just go with it. Anna decided that they probably would have died without Thoma and if they didn't, Anna wouldn't have wanted to live that way anyway. She didn't want to have to go through it alone, she wouldn't have known what to do for Clara. She was so scared, but not as scared as resigned to fate of whatever happens happens, sticking with that decision. Cries. Ends up falling asleep with Thoma, in chair, not in her bed on floor next to his bed unless.... maybe Doctor had to move a bed into a room that would be left alone--not part of normal space he uses. in private quarters, maybe a closet.
Plot Points on Caravan
Anna can feel that caravan used to belong to another man, feels his past, why he built it, when, vaguely what other bits of his past led to his building it.
Anna feels past of dress Rurik makes her wear--he's attacked a woman before, sexually assaulted her in that dress. But when he tells her to wear it when he sneaks up on her in middle of night and says she has to go out and do more work, he's so close and is purposely remembering those memories (as well as the memories he tries to hide of his mother and other abusers that were women, and his dad's women he brought home--because these are why he is aggressive towards women this way.) and she's afraid that's going to happen to her if she doesn't listen. He makes it clear, on purpose, that that's the choice. "You know what happened to the last woman in that dress. That doesn't have to happen, not if you keep quiet and do your work when I ask you to." This is his way of turning her from a threat (the way she sees his past that he doesn't want anyone to see) into a victim, putting him back in power over her.
Anna has nightmares about past
Rurik killed brother in caravan
Rurik's past
A woman (a stripper, not a prostitute though) Rurik raped in caravan, sexually assaulted, then dropped off on streets later
past specific to place where caravan parked
Anna has nightmares about
her father
her neighbor
Thoma's mom
her friends--would they turn into monsters like the rest? would they turn against her if they were put into a situation where, yeah?
Anna sometimes gets possessed
by bad spirits cause vulnerable due to:
bad health
fear
lack of sleep
emotional instability
sight into past already
by spirits of those who died near where caravan is parked
Anna sees and feels a lot of deaths
sees the death Clara saw through dead body and spot where it was done, and through Clara's memories (mostly that's just the dead eyes and screaming bits and protecting Clara in last moments)
she feels what that woman felt: the pain of unfairness of world, the loss she felt seeing family die, the fear, the guilt and horror that Clara had to see this
g
g
Anna, Clara, and Thoma have a greater affect on the war by taking back Thoma's father who could've been a great weapon to the other side.
Clara witnesses death of woman and family about to go visit
Would have seen the future that they would be attacked like that! So she's trying to run and warn them but doesn't get there in time to save them without sacrificing herself and probably not actually getting to save them.
Clara's not fast enough--Police are too close and she has to hide underneath a car outside woman's house.
Clara sees that police are going to come get woman and family in future.
Clara drops what she's doing and tries to change the future--going to try to warn woman. The future doesn't change as she's running to do this but she thinks it might if she runs fast enough and the fastest way even though she normally doesn't go that way.
Police drag woman and family out of house. Yell at them, kill them. Kill woman last. Woman locks eyes with Clara right before dies.
Guards leave, leaving bodies on side of road, reminder to public what happens when you help the Fay.
Clara cold and wet, can't move, can't think, can't even think about where she is. Comatose.
Thoma starts sensing something's wrong (when Clara starts rushing to woman's house)
Anna is with Thoma, notices Thoma frowning
"what's wrong?" "I don't know, we need to find Clara." He's scared.
Thoma senses running--not from though--and the police gaining on her, but they're not after her.
Thoma doesn't know where Clara is, she doesn't know. Just scared, terrified, drenched, cold, numb skin.
Clara
Thoma & Anna go together to find Clara, relying on Thoma's senses.
Thoma senses her fear, physical exhaustion, hiding, puddles, dark, drenched, marching boots, a blue door to a house.
Anna and Thoma split up.
Anna will try to find Clara's path somewhere, follow it from there to Clara. Thoma will try to focus more on Clara and just randomly search area.
Sense death, fear, shouting, police, dead eyes.
Thoma & Anna
Clara witnesses woman's death
Anna intersects Clara's trail (only able to discern it because know Clara so well and her strong feelings when made the trail)
Thoma senses Anna's got a bit of something but only start. Adjusts search slightly, but keeps going mostly same way cause the trail may lead his way later.
Anna finds end of trail, no sign of Clara, sees dead bodies.
Sees, feels woman's past and family's. Woman's suffering greatest in the end, watched all others die and saw in last moments Clara witnessed it all, regret, sorrow, guilt, empathy. And now those dead eyes.
Anna horrified.
Thoma senses Anna's (see above)
Fear, death, horror, dead eyes, screaming, sorrow, Clara hiding, seeing all this from under car, woman's silent apologies to her.
Thoma heads that way.
Looks under car, finds Clara--empty-eyed and scared, curled up on side, soaked through, crying. "Clara" Clara slowly gets out from under car, clings to Anna, crying silently, in shock, shaking from cold and fear. Anna holds her tightly, "I'm so sorry." Clara is silent, won't talk.
Anna comes to, need to get away--shouldn't be seen near these bodies.
"Come on," Anna takes her hand. They can't stay there near those bodies. They start heading back to Caravan. Gets on bike, putting Clara on back of bike once no more uphill.
Thoma intercepts them on way back once closer to caravan, out of city. Wants to stop and hug her but can't, have to get out of rain and get Clara taken care of physically as well as emotionally.
I see things in him he doesn't want me to see. His weak spots, the things that have made him who he is. Before he was strong, before he didn't need anybody. His father beat them, and his mother only paid attention to his brother. His brother was smart like you, talented. But he reminded her of his dad, stupid, brutish, quick-tempered. Then later, at the orphanage--they were neglected and abused. They were the youngest, and the other boys always picked on them. But ____, his brother, was adopted and Rurik stayed behind. Forgotten. The woman who ran the orphanage was mean. They always had chores, hard chores. And if they didn't do them or finish them in time, she had the worst punishments. No one should have to grow up like that.
Rurik tells them they're going to have to earn their way. Thoma says, "but Mr. ___ gave you $." Rurik says aggressively, "Did you see him give me any $? He can't afford to pay for a bunch of kids he doesn't even know, he has his own bills to pay." "No, I didn't see it, but I know. And I know, he didn't have to pay for us, but he did and that $ isn't going to waste. He gave you quite a bit of $ for our ride when we were packing into the caravan." "Are you calling me a liar?!" "Look, I'm sorry but I know he did, and I'm not going to just let you take advantage of us because of our position. I can sense things, and I know he did. And it was quite a sacrifice he made and he'd pretty upset if he found out he just wasted it. Look we'll be happy to work some to earn our way once we've burnt through most of that $ he gave you for our way but I'm not going to let you take advantage of our position." Rurik stops the caravan, looks over his shoulder at Thoma, glaring at him silently. Thoma just glared back at him. "Look, I don't have to take any of you all. I don't like traveling with people, especially smartass kids like you. And I'm taking quite a risk taking you in the first place so there's just one thing you're going to have to get straight when you're traveling with me. You're either going to do what I tell you to do, when I tell you, OR you get out and take your chances with the forest and police and find your own way to the border, which is quite a long way off. Your choice."
Thoma is furious but Anna nudges him and he gives in and looks away, turning to go sit back in their seats.
Rurik looks back to the road and starts the caravan again.
Fight about $ and need to earn way
Rurik wins
Rurik knows Thoma's abilities now (vaguely)
???????????????
When explain why need to leave?
When Rurik find out Anna's power, how? Does he ever? Or just doesn't like the way she looks at him sometimes before she realizes she's doing it?
Mom, they're not going to kill us. Even if they did find out what we are! They know us, they've watched us grow up, their kids have grown up with us.
I know
Maybe one or two people here are that cruel but they're not the majority.
No, not yet, but Thoma, you don't understand. War is different.
Not when you're fighting against your own friends and neighbors, it's not. People aren't just going to volunteer to kill people they grew up with and played with.
But that's not how it is in most towns. In most towns they don't get to know any Fay--they're seperate, they're different, they're foreign--they don't know them.
But not here! And I know we can't be the only ones, I'm sure there's others somewhere.
Not many, and people don't know what they are anyways. They don't know they're just like them.
But if we told them--
NO! she slammed her hands against the table suddenly. You will not.
If they realised--
Then what? One little town against the country? Do you think they'd take that chance? Would you, if it meant you were risking your life, Clara's, mine, all your friends, everyone you love?! This isn't a fairy tale, Thoma! This is real life, and in real life when David goes up against Goliath, David gets massacred, and so do his sympathizers and anyone suspected to be his friend. You don't understand the power of the situation! You don't understand what happens when people get in large groups, when people get scared, what they're capable of--there's nothing deadlier. It doesn't matter what they believe when standing up could get them, their families, their friends, their CHILDREN taken, tortured, killed.
But they can't (Dumbfounded, in denial)
They CAN! Read your history. What if you were safe? What if you were safe and it was another group they were going after. Would you do it? Would you stand up to the armies, the police to save them if it meant nearly guarenteeing your own death, mine, Anna's, Clara's?
Silence
Don't be so quick to judge, Thoma. Don't underestimate the power of fear or group pressure. Good people can do horrible things, in the right situation.
Silence, frustrated silence, huffs up angrily, turning away towards the wall, thinking. I'm not leaving, none of us. He's not my father, he can't tell me what to do.
Well I can!
Thoma looks at her in surprize, almost laughing, flabberghausted.
It's in your best interest--he was only trying to look out for us
OH COME ON! When will you stop saying that?! When will you just see that he doesn't love you? or me?! (getting more gentle, tender) Mom, you don't need him anymore. You have me, you have Clara--and Anna. And you could always find someone else, someone better than him.
(gentler, sighing) Thoma, I know you're angry at him, and I don't blame you but this is not about that right now! (getting more frustrated at end of sentence) (puts her head in her hands, sighing) Whether he cares or not, why would he send something like this if he wasn't serious? What would he get out of it?
Thoma turns away angrily, crossing his arms. quiet until, "He made some mistake--overplayed it, It's paranoia.
She stares at the back of his head, rolling her eyes, lifting an eyebrow. He knows, of course.
Throwing his arms up he says, I'm not leaving. I don't believe it. You and Clara can go, I'll watch the house until you get back after you realise he's wrong.
(tired, patiently looking at him) We're not leaving without you--in fact I wouldn't be leaving at all.
What?! No, I'm not letting him split us up and-- Even if he were right, Mom, why would you stay behind, why would you think we would even let you then?
I'll be fine. It would be safer for you, less suspicious if we didn't all disappear together--they'd come looking for you if we did. Plus, it's easier traveling in smaller groups, and we'd look too much like a family traveling, it's too risky.
Thoma, mouth open, scoffs. You can't be serious. we can't--How would it NOT look suspicious with Clara, Anna, and I all disappearing around the same time. And if it looks suspicious, they'll kill you and Anna's Dad. I'm not going to let that happen
Anna +Thoma
Thoma can see/feel memories (hers and others she's seen) Anna sees, wants him to see--vague though unless really vivid to her and close proximity (like touching foreheads and holding hands)
Anna can see what Thoma saw with his abilities vaguely if he's remembering them or they're particularly relevant.
Thoma + Clara
Thoma can feel/see/sense what Clara senses about the future, but only as she is that moment.
usually not as clear WHAT she's sensing, just that she is sensing something and maybe the vague idea of the subject.
The more powerful Clara's emotions, the closer in proximity, and the more vivid the vision, the better Thoma can sense it.
Ex: When Clara is dreaming about what's going to happen to Anna she is close and absolutely terrified. Thoma senses that shes terrified, the fear seeps into his dreams and it wakes him up. He doesn't dream about the same thing she does while they're both asleep. When he's awake he gets vague flashes of vividness, but a lot of it Clara is trying to suppress from herself. Thoma senses it's awful and that it involves Anna and it'll happen tonight, in the town in a bar somewhere. He wakes her up--she's scared, he hugs her, kisses her. "Anna!" Clara tells him, scared. "Where is she going?" Clara tries to describe it, Thoma takes note, kisses her telling her to go back to sleep and not worry. He grabs his jacket and shoves his feet into his shoes, rushing out of the caravan. He focuses on Anna, seeing what she's seeing and feeling where she is. He gets snippets of vision but EXTREMELY vague (cause she's not very focused cause depressed) and feels the cloud of dread, fatigue, and depression. He jogs through the sparse, dim streets. She's in a place with yellow light, dim, music, noise of talking--a bar he thinks. He looks for bars with music, popping in one or two.
by the way, the troublemakers don't show up until after Anna has been there for a bit--they came in after a long day of work, they're all friends and work together in a dangerous kind of work, like metal work factory or something.
It's not until one of the workers starts talking to her, surprizing her and rousing a bit of fear as a result. It's then that Thoma can feel more of where she is. He runs.
He gets there before fighting starts but when things are still looking like they're about to turn bad. Thoma takes an empty glass from the counter, approaches the guy slowly from behind while his hand is sliding up Anna's leg. He looks at the guys friends--some are at the bar talking, some watching from bar, all pretty close. Thoma approaches them acting like going to walk past them to the bathroom in the back. Thoma slams the empty bottle into guys head using the angle of the glass to make it hurt more. The guy grabs where his hand is on Anna's leg, in pain for a second, then releases in pain, turning around quickly. The guys friends have also been roused from their seats. Anna is shocked "Run!" he tells Anna. She grabs a knife from her other leg and stabs the guy while his attention is on Thoma (wants to help Thoma) He turns and falls, yelling angrily. She runs, away from him but not out, she won't leave without Thoma. Another guy goes after her angrily and one goes after Thoma. One guy punches Anna so hard tears automatically come from her eyes, but she uses his slow recovery from momentum and his close neck to stab him in the neck in the main artery. Thoma breaks the glass in his hand against the wall quickly to use the shards as a shank, held out for protection.
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Transportation -
needs to be mechanical - Thoma works on caravan
but can't be too current
maybe
Possible reasons they give for them all being there traveling together....
family (mom/wife died, left them (was a slut), died in childbirth)
traveling merchants
looking for seasonal work too maybe?
transporting livestock - have a trailer attached to back - the kids are there to take care of the animals?
they're traveling to the factory
Maybe claim to do a bit of everything
livestock
merchants
transporting grains for farming
maybe Rurik really has taken up this job as well, as a cover and to get more cash.
Thoma grabbed a short knife (the one he could reach), so it won't go in as far. Also, could have him stabbed in the spleen area or intestine area.
Thoma knows he needs to try to elevate his legs, stay warm
Spleen - vomit blood
If at all possible, put on disposable gloves. This is vital in reducing the risk of infection to yourself or the victim. Other alternatives include plastic bags over your hands, or having extremely clean hands if there is no other choice than to touch bare-handed.
Check the victim's airway before all else. If there is blood present, this will be an obstruction to their breathing and needs to be cleared out. It is more likely to be an issue if the stab wound is close to the chest.
Remove victim's clothing with care to find the location of the stab wound which can be obscured by clothing, blood, or other fluids, even dirt or mud.
Leave the stabbing object in the wound if it's still there. Pulling it out will increase blood loss, and pushing it in may cause further injury. You'll just need to dress the wound around the knife the best that you can.
Stop the bleeding through use of a dressing. Apply pressure on the wound with a clean and absorbent material (like a shirt or towel), or preferably, a clean dressing. If the object is still in the wound, press firmly around it. The application of pressure to the wound will help to slow down the rate of bleeding.
Some first aid training suggests using the edge of a credit card to "seal" the wound, an item that's handy because so many people have one on them. Not only does this stem blood flow, but it may also prevent lung collapse (by keeping air out of the wound) if the wound is in the chest.
If the wound is bleeding profusely, apply pressure to the major artery leading to the area with the pads of your fingers, pushing down to the bone, while your other hand continues to apply pressure on the wound. If the wound is bleeding profusely, apply pressure to the major artery leading to the area with the pads of your fingers, pushing down to the bone, while your other hand continues to apply pressure on the wound. To slow bleeding in the arm, press on the inside of the arm just above the elbow or just below the armpit. If the wound is on the leg, press just behind the knee or in the groin. If bleeding persists, apply a tourniquet.
Cover the dressing. Hold the dressing in place using a bandage or tape. Do not lift or remove the dressing as this will disrupt clot formation and re-start the bleeding. If the dressing becomes soaked with blood, add more cloth material on top of it.
In the case of a chest wound, be extremely careful. Cover the wound with something like kitchen foil, a plastic bag or cling-film and only cover three sides of the wound and leave one untaped or bandaged down. The reason for this is that air must be able to escape from one side of the bandage, to prevent it from entering the pleural cavity. If air enters the pleural cavity in this manner, the lungs can collapse.
Never use a tourniquet except as the last resort to save a life. Know how and when to use a tourniquet. If it is done incorrectly, it may lead to an unnecessary serious injury to or loss of the leg or arm.
Continue applying pressure until help arrives. continue to monitor the ABCs, Airway, Breathing and Circulation.
Look for and treat symptoms of shock.
Keep the victim warm. shock and loss of blood can cause the victim to suffer from lowered body temperature.
Keep the victim as still as possible. Whether lying or sitting down, the patient should be kept still and calm. It is important that someone remains with the person constantly, to both reassure them and to monitor their condition.
Should the victim fall unconscious, you'll need to act quickly. Place the victim in the recovery position and either:
Continue to monitor breathing; or
If the unconscious victim ceases breathing, perform CPR.
Things to think about...
How do we want to conclude, what is the goal?
Thoma find peace with Father
Father and mother both live? If do it'll be weird the living situation
one point: Scars but not fatal - amazing how much can survive, human nature. perserverance. the great spectrum of good and evil of humanity
another point: look what we can make it through together
Remember can use their physical path as plot points. Trying to go one way then their path is cut off, have some close calls, that can be part of plot.
Find Thoma's Dad's friend to try to get help. People are watching him, he keeps them a very short time, points them in right direction.
They, Thoma or Anna tells Clara what they are, why have to go.
Anna has worked on cars before, that's how she knows how to steal a car.
Perhaps both Thoma and Anna maintain concussions that knock them out for awhile, leaving Clara to realize that both of her parent figures aren't invincible at all. I mean she already knew that somewhat, based on the fights and the struggles they'd tried to hide from her. She knew there was stuff going on that they didn't tell her, but she didn't know how bad it was.
When they are both asleep she stays in the room with them for a long time, crying, not talking, staying awake despite tiredness, terrified to go to sleep (terrified to see what might become of them in a dream too?). She doesn't eat much for awhile. They both look so helpless.
She realizes that they can't do everything, that she has to do her part. And that someone needs to go find the papers from the caravan and burn them, and the caravan. The old man tries to go with her, but she says that she doesn't want him seen near that. He won't let her go. She basically makes it clear that she will do it anyway and he can't keep her under watch enough to stop it. Compromise, he drives her out, to have a picnic in the countryside, he lets her walk a ways to the caravan and do it.
Nordic looking
Stages of Posession
Manifestation
= when the entity is invited in, intentionally or unintentionally.
Examples of intentionally:
trying to curse or bind someone,
dabbling in the occult,
the inexperienced trying to communicate with the dead,
etc.
Examples of unintentionally: can be as simple as
negative thoughts that go astray,
hatred towards someone,
a moment of anger or rage where control is lost,
over whelming feelings of guilt or sadness,
suicidal thoughts,
reckless behavior or over indulging in bad habits.
There are cases where ghost and other types of spirits already inhabit a place and something is done to stir them in to action.
Infestation
= when the entity makes itself known to you.
You may experience the feeling of being watched; hear knocks or scratching on walls, whispers, sometimes growls, strange electrical occurrences that can’t be rationally explained and poltergeist activity. Generally… you are being haunted.
Manifestation
Oppression
Make it difficult to sleep, often times by making loud noises, causing disturbing nightmares, unnatural sexual dreams and hallucinations.
Find and expose any weaknesses, fears, guilt or grief and use them as a trigger.
may find self embracing bad habits and experiencing uncontrollable anxiety, anger or sadness.
may experience fits of violence, self hate and suicidal thoughts.
Goal: to break them down to a point of despair, so opened for possession.
Oppression can be quick but most of the time it takes days, week, months and in some cases depending on how strong the persons free-will is, years.
= when active free will has been breached and the entity has access to the body. At this point of possession, people will report blacking out or watching from above while the entity has control of their body.
Depending on the entity, for example a ghost, most likely it’s about having a psychical body again so they can accomplish something they would like to do, however in the more malevolent cases, the prize is the soul. In this case the ultimate goal is to claim and take the soul, by tormenting it to the point where the person either commits suicide or the body becomes so emaciated that it dies.
http://www.texasghostandspirit.com/attachment-and-possession/stages-of-possession/
Anna's Possession Stages
Manifestation
Intentional
may try to contact dead
for answers on where Thoma's Dad is
to talk to Mom
Unintentional
lots of negative thoughts?
about her situation
about her not having a Mom or a good Dad (after fight with Thoma)
hatred towards Rurik?
moment of anger/rage where loose control
when stumbles across girl getting raped and kills the guy? No, shouldn't she feel more empathy for the girl and fear for her primarily before anger towards aggressors? Maybe it still leaves room
guilt at not telling Thoma it was his father and then his father being taken
suicidal thoughts?
being around infested areas....the caravan?! And being emotionally unstable there
Infestation
?
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