000 - App
User Name/Nick: Ros
User LJ: NAH
AIM/IM: pyrocornflakes
E-mail: rosloops at gmail
Other Characters: Master, West, Sam, Cobra Commander
Character Name: William "Bill"/"Billy" Preece; aka Bill Nash
Series: Cracker
Age: 17
From When?: Series 3, "Best Boys" - After he's shot to death by the police.
Inmate/Warden: Inmate; Bill's a seemingly unrepentant, arrogant murderer on the outside, but at heart he's a scared, insecure child. Still, he died before he could come full circle, so there are issues to work out.
Item: N/A
Abilities/Powers: None.
Personality: Bill Nash is, in essence, a child playing at being a man. He puts on a cocky, confident exterior; however, the image he presents is far from the reality of him. He’s a lonely little boy, desperate for love and approval, and he’ll latch onto the smallest scraps of it that he can get. This drives him to obsess over those he perceives as accepting of him, and he clings to those who are friendly to him very quickly. Once he’s latched on, he won’t let go. For example, he was brought to numerous foster families as a child, but once Brian and Diane Nash began to put in the papers to adopt him, he considered them his “real” family. Even after they cancelled the adoption, he clung to the idea of them as his family, calling them up constantly and begging them to take him back. For ten years, he dwelled on and stalked the Nashes, to the point where they had to change phone numbers several times and move to a new house. Unfortunately, in addition to making him a creepy bastard, his desperate desire for approval and love also makes him easy pickings for those who may not have the best intentions. He’s easily won over by people buying him things or lavishing attention/praise on him. Given his age and immaturity, it’s likely that Bill is extremely impressionable (which, on the Barge, can be a boon for his warden… except they’ll likely be competing against the much more negative influences of the other inmates). It should be noted, however, that despite his clinginess and impressionability, Bill is not a submissive lackey. He can be domineering and demanding and is extremely headstrong.
Bill’s persistent when he wants something, and he rarely gives up. If somebody catches his eye, he’ll try to arrange things so that they’ll meet again; he’ll try to put his foot in the door so that they have to accept him. As Fitz puts it, it’s his “fostering instinct;” he’s desperate for people to like him, because that’s how all the other kids escaped the system. This works out when Stuart Grady, his foreman, piques his interest. In order to get Grady to pay attention to him, he breaks into the textile factory in which they work after hours, knowing that Grady will be the one to find him. Bill’s persistence, coupled with his ability to hold grudges for extremely long periods of time and his impulsiveness/short temper, can be a deadly combination. Once he sets his mind on murder or revenge, he’ll do what he can to see it through, and he won’t stop unless somebody he trusts manages to talk him down.
Insecure and childish, Bill feels unloved and abandoned by the people in his life. He carries with him a great deal of anger and rage, particularly against his former foster family and his social worker. Bill fixates on the wrongs committed against him, and he primarily lashes out and seeks revenge against those who threaten his security and control (such as the landlady he murders, his social worker, the child who replaced him, etc.). In Bill’s forensic profile, it’s noted that out of him and his partner Grady, Bill’s the one with the temper. He’s the one who strikes first, usually impulsively (wounds left by Bill tend to be shallower/sloppier), while Grady is the one protecting him, finishing the job for Bill’s sake with stronger, cleaner cuts. Between himself and Grady, Bill is always the one to instigate murder.
Behind his swaggering exterior, Bill is very much a child. Whenever he relaxes, Bill acts like a typical teenager: teasing, playfully annoying Grady, spraying soda on him, nicking his cigarettes, etc. However, he desperately wants to be seen as an adult/man. He insists on being called “Bill” instead of “Billy,” because he thinks it makes him sound older. He likes to pretend that he knows how to survive on the streets, while downplaying or outright ignoring his vulnerabilities. Still, he’s not an adult, and he’s incapable of coping with change, trauma, or depression. Bill has tried to commit suicide five times (slit both wrists, two ODs, and one hanging), and he carries scars on his wrists, which can be seen if you look carefully. When he feels scared or threatened, Bill lashes out, usually violently. For his entire life, Bill hasn’t known control, not until he met Grady. So, when he finally starts making his own decisions, he becomes extremely defensive and angry over anything that threatens it. For example, while he’s angry with his social worker for trying to take him back to the children’s home, what really sets him off against him is the insinuation that Grady’s no good. Bill goes nuts and keeps screaming “I CHOSE HIM, WHAT’S WRONG WITH THAT?” before going into death threats and following through with them.
For all his pretending to be an adult, Bill is neither sexually experienced nor very sexually aware. His actual orientation is unknown and seems undeveloped. He’s uncomfortable, shy, and passive around female peers, and he doesn’t know how to respond to their forceful sexual advances (well, harassment). He seems more comfortable around Grady; however, while Grady clearly feels lust for Bill, Bill doesn’t really indicate any feelings in that way. He shows no actual sexual attraction or interest in either sex, and his behavior and body language indicates that he’s probably never done anything with another person. He’s casual with his body in the way that a child is, walking around half-naked, completely oblivious to the fact that Grady’s both uncomfortable and attracted to him. Bill’s naïve in the adult matters of sex; he doesn’t understand why it’s considered strange for a man twice his age to want to be around him, and he doesn’t get it when he’s mistaken for a prostitute. Still, he does love Grady-- or, at least, he thinks he does-- which means that whether or not he’s actually physically attracted to men, he is at least open to the idea. With Grady, though, it’s hard to say if he feels the same romantic love that Grady does, or if it’s more attachment/infatuation/admiration. It’s likely that it’s very easy for Bill to “fall in love” with and try to please anybody who affords him the same sort of attention that Grady does, male or female.
Bill isn’t very well educated; however, he is clever, and he clearly yearns for more than his lot in life. He’s observant enough to catch when Grady lies to him, and he pays attention to little details (like the serial numbers on Grady’s sleeping bag) to find out more about a situation/person. Bill’s curious and likes asking a lot of questions. He’s also eager to strike out on his own and really live his life free from the shackles of the system he’s trapped in. He seems to have some aspirations towards art (at least, he finds a wood carving done by Grady to be impressive, and wishes aloud that he could do things like that). Bill’s also manipulative, possibly without even realizing it, as he can get Grady, a law abiding man, to kill for him and go on the run just by telling him to.
Path to Redemption: Bill needs a warden to foster his independence, but in order to do that they have to first get him to trust them and feel cared for. The big obstacle with this is ensuring that he reforms because HE WANTS/CHOOSES TO, and not because he’s trying to please his Warden. Bill’s problem is that he's been abandoned by everybody he's cared for (at least, that's the way he sees it), and he carries with him incredible anger (which manifests in violence) as a result. He holds on to grudges for years and years. The warden would have to get him to let go, move on, and feel as though he's important/loved. Grady was on his way to accomplishing that, but then the cops shot Bill, so... you get to start from square one. Now, a bad influence taking him under their wing and making him feel loved will be a huge setback to any warden, so... you'll probably want to earn his trust quickly.
History: Bill Nash has known many families, but never for terribly long. He doesn't know or remember his birth parents, and he doesn't particularly miss them. As a child, he went from foster home to foster home, and then when he was 7 or 8, he was sent live with the Nashes. According to Diane Nash, she thought that Bill would be with them forever; he just fit right in. However, she never wanted an older child; she wanted a baby. Despite this, she and her husband were prepared to adopt Bill. The fulfillment they felt by having the child around, however, relieved Mrs. Nash’s stress, and she was able to conceive her own child shortly after beginning the adoption process. Deciding that it would be a “kindness” to Bill to let him go (as they would never treat him the same as their biological child), they cancelled the adoption, effectively cancelling Bill and sending him back into the foster system. Naturally, this traumatized young Bill, and he didn’t know what he’d done wrong to have his adoption cancelled like that. So, he called. And he called and he called and he called, constantly, begging the Nashes to take him back. Eventually, they had to change their phone number a few times, before moving away to hide from him.
And so, Bill spent most of his formative years in the children’s home. He hated it and tried to escape any way he could, by either running away (only to get hauled back by his social worker) or attempting suicide. He had five suicide attempts: two attempts at slitting his wrists, one hanging, and two ODs (at least, this is the breakdown of attempts implied by Fitz). At 17, Bill began working in a textile factory. He was harassed and bullied by the older girls there, who liked to have a bit of fun by groping him, pulling down his trousers, etc. While being picked on by the girls, he caught his foreman, Stuart Grady's, eye. Grady called the girls off and stood up for him, which led to Bill pretty much immediately developing a puppy-like attachment to the older man. In order to get to know Grady better, he deliberately stayed at the factory late, so that he would miss curfew at the halfway house and would have to stay the night at the factory. Bill did this specifically because he knew Grady would find him, and he wanted to be found. And that is exactly what happened; Grady’s called in due to the report of a break in, found Bill asleep in his office, and took him home to give him a bed and some shelter. The two got to know each other a little bit, and Bill was intrigued by Grady’s past and clever enough to catch whenever Grady lied.
Unfortunately, the next morning, Bill took a shower and swaggered around half-naked, which looked really bad when Grady’s landlady came to the door and mistook him for a rentboy. She demanded that Grady “get that whore” out of the flat and pack his bags, ignoring their protests that their friendship was totally innocent. When she slapped Grady, Bill attempted to go to his defense, but he wound up accidentally stabbing her in the arm. Feeling his security threatened, Bill stabbed her again and made Grady finish her off, later claiming that “we” did it together, rather than take responsibility for the attack.
Now I’m going into present tense. Because.
The two fail at disposing the body/killing her properly, and when her husband comes home to find her dying, he gets the initial blame from the police. The police come around and inspect the flats; Bill and Grady almost get caught, but Bill poses as Grady's son to act as an alibi. The two go into work, and when the girls pick on Bill again, Grady fires their ringleader and the two skive off to go shopping. Grady’s agitated, but Bill’s directing him on how to act normal so that they can get away with their crime. Once they go shopping, Grady buys Bill some gifts, which makes Bill’s heart go all aflutter-- until he spots Diane Nash and her new kids. Bill follows her out to the parking lot, and after some awkward small talk, convinces Grady to follow the Nashes’ car back to their new home. Bill does a bit of stalking, then goes off to talk to them, calling them his 'family.' The Nashes call the social workers, and Bill’s case worker, Ian McVerry, comes to take Bill back to the home. Grady steps in and rescues him. McVerry tells Bill that there's something wrong about their relationship and tries to get him to see that Grady's got 'more than friends' feelings, but this just incenses Bill, so he gets violent and starts threatening McVerry, who washes his hands of the situation and leaves. Bill hops into Grady's car and the two of them chase the social worker while trying to run him off the road and scream threats. Eventually, McVerry gets out of the car and tries to find help in a pub, but Bill corners him in an alley. Bill sucks at fighting and gets his ass kicked, but Grady saves the day and restrains/chokes the social worker while Bill stabs him 20-odd times in the face and neck with a broken bottle.
The next day, they're on the run. They go off to hide for a bit, and once Grady realizes the cops are on to him and Bill, he grabs his gun. He gets frustrated with Bill for brandishing it playfully in public, but can't seem to bring himself to abandon him, so he doesn't. The two of them try to dispose of Grady's car with fire, but Bill's careless and ends up getting his leg burnt up. Grady takes him to the hospital in a stolen car. When the cops arrive later, he wheels Bill out, hides him and allows himself get caught so that Bill can remain safe. Bill still has the gun, and so while the cops are interrogating Grady, he goes to stalk his old family some more. He realizes they're at the fairgrounds that day, and so he goes and holds his foster mother and her replacement son hostage.
Grady, having been convinced by Fitz that Bill is a suicide risk and needs to be rescued, arrives and tries to talk Bill down by telling him that he's important and cares for him. Bill thinks they're fucked and wants to escape with Grady in a car, but Grady tries to tell him the reality of the situation. And so, eventually, he reveals to Bill that he loves him, and offers to take the gun for him. Bill tells Grady that he loves him, too, but then the kid he's holding hostage moves suddenly, so Bill jerks his arm in reflex. The police mistake this action as Bill about to shoot, so they fire several bullets into him, leaving a distraught Grady cradling his dead body.
Sample Journal Entry: [Scrawled out in hurried, sloppy handwriting:]
Where’s Grady?
Dunno where I am. Not the children’s home, cos I got me own room and all. The other people who wrote in this book, they threw a lot of words around. Prison comes up the most.
So this is a prison, yeah? Doesn’t look like one.
What’m I doing here? I’ve done nowt wrong. Didn’t hurt no one-- no one who didn’t deserve it They got no evidence. Coppers can’t just lock people up without a trial, yeah?
I want Grady. Where is he? He said he wouldn’t--
He wouldn’t leave me. Not Grady.
Sample RP: The first time a stranger’s writing began to materialize across the page, Bill let out a cry of surprise and threw the book across the room. After a few minutes, he hesitantly walked towards the journal and gingerly picked it up, as though he were afraid it was going to bite his fingers off. Must’ve been seeing things, that’s all. Disoriented, like, because he couldn’t remember anything that happened after he last spoke with Grady. That final “I love you” spoken, and then… waking up here. Bill sat down on the edge of the bed and flipped the book open to a random page. Somebody had left an entry about a “flood” or something, accompanied with a small picture of a stranger. Okay, then, that wasn’t so bad. A little odd, yeah, but he figured others had just written in this book before him.
He skipped forward until he reached a blank page, then gently ran his fingers along the paper, as though he were testing it. Not that he knew how to test it for anything, or what he’d do if he had discovered something about the paper… It was just better to keep his hands busy. He watched it for a minute, then gave a small, satisfied nod when nothing appeared. Right, then, so he’d been seeing things.
Just then, a brief comment revealed itself on the paper, seemingly written in ink, but dry to the touch when he brought his finger to it. A little portrait was printed next to it, just like in the earlier entry. He gaped, and before he could do anything else, another comment appeared beneath it, with another picture accompanying it. It was like they were having a conversation, whoever-- whatever-- they were. He took up his pen and scrawled a big “WHAT?” on the page, then (as though afraid of what he might see in the journal) shut the book and set it beside him. Deep breaths. Calming breaths.
What was this place?
Bill shot a wary look at the book at his side, then stood from the bed and began to rummage around the desk. There had to be something here-- something sharp-- that he could use to defend himself if anybody on this… this spaceship, prison, whatever found him.
Nothing useful, not even a pair of scissors.
Letting out a growled curse, Bill slammed the drawer shut and walked over to the door, opening it just a crack. The corridor looked a bit posh, all polished wood and nice carpeting. After a quick look from the left to the right, he determined that it was safe enough to venture out. Taking note of his room number, Bill slipped out of the room and hurried along the corridor, trying to take in everything.
Maybe, if he was lucky, he could find Grady in this mad place. He wouldn’t stop searching until he did.
Special Notes: Sorry if the third person sample is incoherent. I’m really… sick or something today :c
User LJ: NAH
AIM/IM: pyrocornflakes
E-mail: rosloops at gmail
Other Characters: Master, West, Sam, Cobra Commander
Character Name: William "Bill"/"Billy" Preece; aka Bill Nash
Series: Cracker
Age: 17
From When?: Series 3, "Best Boys" - After he's shot to death by the police.
Inmate/Warden: Inmate; Bill's a seemingly unrepentant, arrogant murderer on the outside, but at heart he's a scared, insecure child. Still, he died before he could come full circle, so there are issues to work out.
Item: N/A
Abilities/Powers: None.
Personality: Bill Nash is, in essence, a child playing at being a man. He puts on a cocky, confident exterior; however, the image he presents is far from the reality of him. He’s a lonely little boy, desperate for love and approval, and he’ll latch onto the smallest scraps of it that he can get. This drives him to obsess over those he perceives as accepting of him, and he clings to those who are friendly to him very quickly. Once he’s latched on, he won’t let go. For example, he was brought to numerous foster families as a child, but once Brian and Diane Nash began to put in the papers to adopt him, he considered them his “real” family. Even after they cancelled the adoption, he clung to the idea of them as his family, calling them up constantly and begging them to take him back. For ten years, he dwelled on and stalked the Nashes, to the point where they had to change phone numbers several times and move to a new house. Unfortunately, in addition to making him a creepy bastard, his desperate desire for approval and love also makes him easy pickings for those who may not have the best intentions. He’s easily won over by people buying him things or lavishing attention/praise on him. Given his age and immaturity, it’s likely that Bill is extremely impressionable (which, on the Barge, can be a boon for his warden… except they’ll likely be competing against the much more negative influences of the other inmates). It should be noted, however, that despite his clinginess and impressionability, Bill is not a submissive lackey. He can be domineering and demanding and is extremely headstrong.
Bill’s persistent when he wants something, and he rarely gives up. If somebody catches his eye, he’ll try to arrange things so that they’ll meet again; he’ll try to put his foot in the door so that they have to accept him. As Fitz puts it, it’s his “fostering instinct;” he’s desperate for people to like him, because that’s how all the other kids escaped the system. This works out when Stuart Grady, his foreman, piques his interest. In order to get Grady to pay attention to him, he breaks into the textile factory in which they work after hours, knowing that Grady will be the one to find him. Bill’s persistence, coupled with his ability to hold grudges for extremely long periods of time and his impulsiveness/short temper, can be a deadly combination. Once he sets his mind on murder or revenge, he’ll do what he can to see it through, and he won’t stop unless somebody he trusts manages to talk him down.
Insecure and childish, Bill feels unloved and abandoned by the people in his life. He carries with him a great deal of anger and rage, particularly against his former foster family and his social worker. Bill fixates on the wrongs committed against him, and he primarily lashes out and seeks revenge against those who threaten his security and control (such as the landlady he murders, his social worker, the child who replaced him, etc.). In Bill’s forensic profile, it’s noted that out of him and his partner Grady, Bill’s the one with the temper. He’s the one who strikes first, usually impulsively (wounds left by Bill tend to be shallower/sloppier), while Grady is the one protecting him, finishing the job for Bill’s sake with stronger, cleaner cuts. Between himself and Grady, Bill is always the one to instigate murder.
Behind his swaggering exterior, Bill is very much a child. Whenever he relaxes, Bill acts like a typical teenager: teasing, playfully annoying Grady, spraying soda on him, nicking his cigarettes, etc. However, he desperately wants to be seen as an adult/man. He insists on being called “Bill” instead of “Billy,” because he thinks it makes him sound older. He likes to pretend that he knows how to survive on the streets, while downplaying or outright ignoring his vulnerabilities. Still, he’s not an adult, and he’s incapable of coping with change, trauma, or depression. Bill has tried to commit suicide five times (slit both wrists, two ODs, and one hanging), and he carries scars on his wrists, which can be seen if you look carefully. When he feels scared or threatened, Bill lashes out, usually violently. For his entire life, Bill hasn’t known control, not until he met Grady. So, when he finally starts making his own decisions, he becomes extremely defensive and angry over anything that threatens it. For example, while he’s angry with his social worker for trying to take him back to the children’s home, what really sets him off against him is the insinuation that Grady’s no good. Bill goes nuts and keeps screaming “I CHOSE HIM, WHAT’S WRONG WITH THAT?” before going into death threats and following through with them.
For all his pretending to be an adult, Bill is neither sexually experienced nor very sexually aware. His actual orientation is unknown and seems undeveloped. He’s uncomfortable, shy, and passive around female peers, and he doesn’t know how to respond to their forceful sexual advances (well, harassment). He seems more comfortable around Grady; however, while Grady clearly feels lust for Bill, Bill doesn’t really indicate any feelings in that way. He shows no actual sexual attraction or interest in either sex, and his behavior and body language indicates that he’s probably never done anything with another person. He’s casual with his body in the way that a child is, walking around half-naked, completely oblivious to the fact that Grady’s both uncomfortable and attracted to him. Bill’s naïve in the adult matters of sex; he doesn’t understand why it’s considered strange for a man twice his age to want to be around him, and he doesn’t get it when he’s mistaken for a prostitute. Still, he does love Grady-- or, at least, he thinks he does-- which means that whether or not he’s actually physically attracted to men, he is at least open to the idea. With Grady, though, it’s hard to say if he feels the same romantic love that Grady does, or if it’s more attachment/infatuation/admiration. It’s likely that it’s very easy for Bill to “fall in love” with and try to please anybody who affords him the same sort of attention that Grady does, male or female.
Bill isn’t very well educated; however, he is clever, and he clearly yearns for more than his lot in life. He’s observant enough to catch when Grady lies to him, and he pays attention to little details (like the serial numbers on Grady’s sleeping bag) to find out more about a situation/person. Bill’s curious and likes asking a lot of questions. He’s also eager to strike out on his own and really live his life free from the shackles of the system he’s trapped in. He seems to have some aspirations towards art (at least, he finds a wood carving done by Grady to be impressive, and wishes aloud that he could do things like that). Bill’s also manipulative, possibly without even realizing it, as he can get Grady, a law abiding man, to kill for him and go on the run just by telling him to.
Path to Redemption: Bill needs a warden to foster his independence, but in order to do that they have to first get him to trust them and feel cared for. The big obstacle with this is ensuring that he reforms because HE WANTS/CHOOSES TO, and not because he’s trying to please his Warden. Bill’s problem is that he's been abandoned by everybody he's cared for (at least, that's the way he sees it), and he carries with him incredible anger (which manifests in violence) as a result. He holds on to grudges for years and years. The warden would have to get him to let go, move on, and feel as though he's important/loved. Grady was on his way to accomplishing that, but then the cops shot Bill, so... you get to start from square one. Now, a bad influence taking him under their wing and making him feel loved will be a huge setback to any warden, so... you'll probably want to earn his trust quickly.
History: Bill Nash has known many families, but never for terribly long. He doesn't know or remember his birth parents, and he doesn't particularly miss them. As a child, he went from foster home to foster home, and then when he was 7 or 8, he was sent live with the Nashes. According to Diane Nash, she thought that Bill would be with them forever; he just fit right in. However, she never wanted an older child; she wanted a baby. Despite this, she and her husband were prepared to adopt Bill. The fulfillment they felt by having the child around, however, relieved Mrs. Nash’s stress, and she was able to conceive her own child shortly after beginning the adoption process. Deciding that it would be a “kindness” to Bill to let him go (as they would never treat him the same as their biological child), they cancelled the adoption, effectively cancelling Bill and sending him back into the foster system. Naturally, this traumatized young Bill, and he didn’t know what he’d done wrong to have his adoption cancelled like that. So, he called. And he called and he called and he called, constantly, begging the Nashes to take him back. Eventually, they had to change their phone number a few times, before moving away to hide from him.
And so, Bill spent most of his formative years in the children’s home. He hated it and tried to escape any way he could, by either running away (only to get hauled back by his social worker) or attempting suicide. He had five suicide attempts: two attempts at slitting his wrists, one hanging, and two ODs (at least, this is the breakdown of attempts implied by Fitz). At 17, Bill began working in a textile factory. He was harassed and bullied by the older girls there, who liked to have a bit of fun by groping him, pulling down his trousers, etc. While being picked on by the girls, he caught his foreman, Stuart Grady's, eye. Grady called the girls off and stood up for him, which led to Bill pretty much immediately developing a puppy-like attachment to the older man. In order to get to know Grady better, he deliberately stayed at the factory late, so that he would miss curfew at the halfway house and would have to stay the night at the factory. Bill did this specifically because he knew Grady would find him, and he wanted to be found. And that is exactly what happened; Grady’s called in due to the report of a break in, found Bill asleep in his office, and took him home to give him a bed and some shelter. The two got to know each other a little bit, and Bill was intrigued by Grady’s past and clever enough to catch whenever Grady lied.
Unfortunately, the next morning, Bill took a shower and swaggered around half-naked, which looked really bad when Grady’s landlady came to the door and mistook him for a rentboy. She demanded that Grady “get that whore” out of the flat and pack his bags, ignoring their protests that their friendship was totally innocent. When she slapped Grady, Bill attempted to go to his defense, but he wound up accidentally stabbing her in the arm. Feeling his security threatened, Bill stabbed her again and made Grady finish her off, later claiming that “we” did it together, rather than take responsibility for the attack.
Now I’m going into present tense. Because.
The two fail at disposing the body/killing her properly, and when her husband comes home to find her dying, he gets the initial blame from the police. The police come around and inspect the flats; Bill and Grady almost get caught, but Bill poses as Grady's son to act as an alibi. The two go into work, and when the girls pick on Bill again, Grady fires their ringleader and the two skive off to go shopping. Grady’s agitated, but Bill’s directing him on how to act normal so that they can get away with their crime. Once they go shopping, Grady buys Bill some gifts, which makes Bill’s heart go all aflutter-- until he spots Diane Nash and her new kids. Bill follows her out to the parking lot, and after some awkward small talk, convinces Grady to follow the Nashes’ car back to their new home. Bill does a bit of stalking, then goes off to talk to them, calling them his 'family.' The Nashes call the social workers, and Bill’s case worker, Ian McVerry, comes to take Bill back to the home. Grady steps in and rescues him. McVerry tells Bill that there's something wrong about their relationship and tries to get him to see that Grady's got 'more than friends' feelings, but this just incenses Bill, so he gets violent and starts threatening McVerry, who washes his hands of the situation and leaves. Bill hops into Grady's car and the two of them chase the social worker while trying to run him off the road and scream threats. Eventually, McVerry gets out of the car and tries to find help in a pub, but Bill corners him in an alley. Bill sucks at fighting and gets his ass kicked, but Grady saves the day and restrains/chokes the social worker while Bill stabs him 20-odd times in the face and neck with a broken bottle.
The next day, they're on the run. They go off to hide for a bit, and once Grady realizes the cops are on to him and Bill, he grabs his gun. He gets frustrated with Bill for brandishing it playfully in public, but can't seem to bring himself to abandon him, so he doesn't. The two of them try to dispose of Grady's car with fire, but Bill's careless and ends up getting his leg burnt up. Grady takes him to the hospital in a stolen car. When the cops arrive later, he wheels Bill out, hides him and allows himself get caught so that Bill can remain safe. Bill still has the gun, and so while the cops are interrogating Grady, he goes to stalk his old family some more. He realizes they're at the fairgrounds that day, and so he goes and holds his foster mother and her replacement son hostage.
Grady, having been convinced by Fitz that Bill is a suicide risk and needs to be rescued, arrives and tries to talk Bill down by telling him that he's important and cares for him. Bill thinks they're fucked and wants to escape with Grady in a car, but Grady tries to tell him the reality of the situation. And so, eventually, he reveals to Bill that he loves him, and offers to take the gun for him. Bill tells Grady that he loves him, too, but then the kid he's holding hostage moves suddenly, so Bill jerks his arm in reflex. The police mistake this action as Bill about to shoot, so they fire several bullets into him, leaving a distraught Grady cradling his dead body.
Sample Journal Entry: [Scrawled out in hurried, sloppy handwriting:]
Where’s Grady?
Dunno where I am. Not the children’s home, cos I got me own room and all. The other people who wrote in this book, they threw a lot of words around. Prison comes up the most.
So this is a prison, yeah? Doesn’t look like one.
What’m I doing here? I’ve done nowt wrong. Didn’t hurt no one-- no one who didn’t deserve it They got no evidence. Coppers can’t just lock people up without a trial, yeah?
I want Grady. Where is he? He said he wouldn’t--
He wouldn’t leave me. Not Grady.
Sample RP: The first time a stranger’s writing began to materialize across the page, Bill let out a cry of surprise and threw the book across the room. After a few minutes, he hesitantly walked towards the journal and gingerly picked it up, as though he were afraid it was going to bite his fingers off. Must’ve been seeing things, that’s all. Disoriented, like, because he couldn’t remember anything that happened after he last spoke with Grady. That final “I love you” spoken, and then… waking up here. Bill sat down on the edge of the bed and flipped the book open to a random page. Somebody had left an entry about a “flood” or something, accompanied with a small picture of a stranger. Okay, then, that wasn’t so bad. A little odd, yeah, but he figured others had just written in this book before him.
He skipped forward until he reached a blank page, then gently ran his fingers along the paper, as though he were testing it. Not that he knew how to test it for anything, or what he’d do if he had discovered something about the paper… It was just better to keep his hands busy. He watched it for a minute, then gave a small, satisfied nod when nothing appeared. Right, then, so he’d been seeing things.
Just then, a brief comment revealed itself on the paper, seemingly written in ink, but dry to the touch when he brought his finger to it. A little portrait was printed next to it, just like in the earlier entry. He gaped, and before he could do anything else, another comment appeared beneath it, with another picture accompanying it. It was like they were having a conversation, whoever-- whatever-- they were. He took up his pen and scrawled a big “WHAT?” on the page, then (as though afraid of what he might see in the journal) shut the book and set it beside him. Deep breaths. Calming breaths.
What was this place?
Bill shot a wary look at the book at his side, then stood from the bed and began to rummage around the desk. There had to be something here-- something sharp-- that he could use to defend himself if anybody on this… this spaceship, prison, whatever found him.
Nothing useful, not even a pair of scissors.
Letting out a growled curse, Bill slammed the drawer shut and walked over to the door, opening it just a crack. The corridor looked a bit posh, all polished wood and nice carpeting. After a quick look from the left to the right, he determined that it was safe enough to venture out. Taking note of his room number, Bill slipped out of the room and hurried along the corridor, trying to take in everything.
Maybe, if he was lucky, he could find Grady in this mad place. He wouldn’t stop searching until he did.
Special Notes: Sorry if the third person sample is incoherent. I’m really… sick or something today :c