𝐫𝐜 - 𝟐:𝟑𝟏𝐚𝐦
rafe’s phone goes off with a little noise, and he sets his laptop aside to find the device, buried beneath the sheets. when he picks it up, your name and the little emojis you had selected to put next to your contact light up the screen. there’s one concise text: are you up? can’t sleep
instead of texting back, he hits the call button and waits for it to ring. you answer within the first one, which is something of a habit when rafe calls you.
“hello?” you say quietly into the phone, trying your hardest to not make too much noise. everyone else in your house was still asleep.
“why’re you still up?” rafe asks, and though you know he’s not mad, just worried, he sounds mad.
“i told you, i can’t sleep. why are you still up?”
“i’m always up at this time.”
“that’s not good. doing what? are you with your other girl?” you laugh at your own joke, but you know rafe isn’t, since that’s his least favorite joke.
“shut up. what—did’ya have a coffee before bed? i said to quit that shit.”
“no!” you whine, louder than you realized. you go silent, hoping no one heard you. “it’s just one of those nights. and you’re not here, that doesn’t help.”
you expect some other comment from rafe, telling you to shut up and shut your eyes because he was busy with work and being proactive like he always is. you brace for it, already smiling. rafe is silent for longer than you thought he would be.
“i’m sorry, baby. i’ll be there tomorrow night, alrigh’?” your smile dissipates, shoulders sinking with an odd sense of relief and your body falling further into your warm bed. you don’t know why your eyes are watery—maybe because you didn’t think rafe would say something so sweet. your boyfriend is a lot of things—funny without trying, possessive to a fault, dominant to his bones—but he’s not always sweet like this.
“still there? or you finally fall asleep?”
“still here. sorry, rafe.” you yawn, the first one in hours.
“go to bed, kid. it’s too late to still be up.”
“i’ll sleep if you sleep.”
“m’not done with-”
“please,” you say softly, followed by another yawn.
“fine. but sleep, now. seriously. it’s two-fucking-thirty, got no reason to still be up.”
he mumbles some other stuff but you don’t catch it, getting comfortable and setting rafe on speaker with the quietest volume. you hear the unmistakable sound of rafe’s laptop closing, the switch of his lamp, the rustle of him getting under the covers. you close your eyes and imagine him staring up at the ceiling like you were just doing.
“ready, rafe?” you murmur, already half asleep.
“yeah, kid. goodnight.”
you’re out before you can even say goodnight back. rafe laughs at his phone, opening his laptop back up.
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FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!
i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.
i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.
in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.
this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable
it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.
then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.
he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.
finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.
it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.
in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.
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Maximizing Success with 1 Hour Time Frames in Trading
New Post has been published on https://www.alphaexcapital.com/forex-time-frames/1-hour-time-frames/
Maximizing Success with 1 Hour Time Frames in Trading
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