So I seem to be heading up to a climatic scene where Dan drags himself from his deathbed to see what all the commotion is about (this is the scene after the scene I posted today, with Diana and Will going for a little jaunt on the 9572). He knows his ex-wife Sarah, Diana’s mother, is already out there and loaded for bear. He’s dying of cancer. He figures out pretty dang fast that Parker Landreth landing armed, shooting at Diana and Will, means trouble. And we’re talking about someone who is a cattleman–progressive cattleman, okay, but still, a cattleman. A rancher, albeit, in the future. A former military man (Afghanistan). He knows his daughter’s father-in-law (Parker Landreth) means trouble, and….well, if you’ve been following my occasional Netwalk Sequence natterings, you know that Sarah doesn’t walk away from a fight. And she’s come to much the same conclusions about her daughter’s father-in-law. Diana’s parents don’t agree on much, any more, but a threat to their daughter and her husband…they understand that one very well. Keep in mind that Sarah comes from a timber production background, she’s a lumberman’s daughter with the lumber version of Dan’s cattle background.
Dear God, what I’m visualizing is more a cyber-Wild West Shootout at the OK Corral. Only Sarah and Dan both take out Parker and the other threat to Diana and Will’s continued happiness. Dan takes the fall this time.
Is this a cliche or what? Nonetheless, it resonates nicely with me.
Then again, that could be the absinthe talking–except that this was the thought process that kept tugging at me during the quiet times while proctoring tests this afternoon.
Needs careful scripting to stay away from cliches.
Comments? And if none of this makes sense, that’s okay, too. I’m putting this down as much for my thought process as much as anything else.
