Whatever ending we choose, I feel his mother has to play a huge part in it. It's been established that she is an anchor to his timelines in some way.

Jason can't win, every time he tries to recover, things change to make it worse. He's given up, and walks onto the highway, intending to finish what was started all those years ago. He faces the oncoming truck that should have killed him in his youth. His brother shoves him out of the way. Roll credits!

In essence, the themes thus far have been about missed opportunities, anxiety, depressive spirals, and longing for a better life. The ending should reflect how even at his worst, he resolves to make decisions that work to make things better, not to give in to hopelessness, and find a way forward no matter the path or the whims of chance.

Once he stops trying to find the right timeline, or bemoaning what could have been or the horrors he suffers in other ones, that decision should be an inflection point that starts going all the way to the climax. Show how he works at his life, no matter what life it is, to make it better. What was previously just him throwing things at the wall trying to find a way forwards is now a determined act to improve the lives of himself and the people around him, whatever the circumstances, even when he stumbles or miscalculates.

It should start slow. One life, one agonizing decision at a time, making improvements. And then he shifts to another. Each time, he gets better and better and the shifts come more rapidly. At some point it should start to become ambiguous whether the shifts are him hopping timelines again or if the editing is showing -all- of his lives, not just where he is now.

As time goes on and he continues to work through all the timelines he can see, editing picks up. Rapid pace, every decision, every little thing he can do. Show his mother the care she deserves, his brother, whether it's him in reality or just his memory, his girlfriend, whether just having her in his life as a romantic partner, a friend, or even just a stranger given space. Finally it cuts to him dead, lying in a hospital bed, killed by a truck collision or something, and surrounded by people he cares about, the last point in any timeline that jason ever lived in, maybe. After that the conclusion can just be really normally-shot conversations of the people around him talking about how he made their lives better, how he kicked his drug problems, how he never stopped working to improve while the credits roll. Even dead, jason has a smile on his face.

The emotional core of the movie is about doing the best with what you've got. As long as that emotional core is there, you don't actually have to worry that much about dumbing things down. That part, audiences will get.

Marlene Collins 2025/08/06(Wed)00:42 No. 1112315 ID: 8179f5
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>We've got TONS of media that deals with weird time-jumping stuff
Marlene: No, Dolly, there’s no going back in time. Let’s not use that to fall back on just yet.

Marlene: You sure you’ve read the script?

Dolly: Of course! I’m only suggesting something the audience can be familiar with, after all!

Dolly: I mean, we own it now. Scripts will drastically change; it’s just a fact in this business. Before you know it we’ll be out of time so we’ll have to compromise on something.

Marlene: Well sure... possibly. W-We’ll put a pin on that for now. What matters more is how he has improved his character. Just picture it--

Marlene Collins 2025/08/06(Wed)00:43 No. 1112316 ID: 8179f5
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Marlene: There would be a low point. He’ll feel all choices are meaningless.

Marlene: He realizes he can’t win. He knows despite everything he’ll do to make things right--it won’t stay for long.

Marlene: But he has to keep going, no matter what. These reality-hops won’t be an inconvenience--it must be his curse! We must emphasize that!

Marlene Collins 2025/08/06(Wed)00:43 No. 1112317 ID: 8179f5
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Marlene: He should learn from other timelines to help his friends.

Marlene: He’ll recognize the plight of one complete stranger, yet in another life where they loved each other--he knows everything about them.

Marlene: He’ll realize it shouldn’t be about him anymore. At least for a while.

>The end goal for Jason should be pictured around him and his true love finally being able to stay together.
>You have to live with your decisions and improve your life from there, not obsess on how things could have been different.
Marlene: I imagine a bittersweet ending. He’ll have to give up something and change his outlook on what’s more important.

Marlene: His love for Elsa will always be there. And as long as he figures out a way to make sure she and all his friends are alright, he should learn to be content with that to the very end.

Marlene: In the end, there will always be a timeline where he’s happy with her. Old and still together. Somewhere out there.

Marlene Collins 2025/08/06(Wed)00:44 No. 1112318 ID: 8179f5
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Dolly: Waaaait!

Dolly ...

Dolly: What about the whole time-hopping thing? Why does it happen? You can’t leave people hanging like that.

Dolly: Jason should figure out where he got this power in the first place.

Marlene: I don’t... really see it as a superpower though.

Dolly: Howabout we just make the ending now? I’ll scribble down that Jason wakes up after being hit by a car with his brother. Everything he experienced is summed up in a coma or near-death experience. Okay? Good.

Marlene: Ugh. I guess... for now.

I don’t like that at all. But anything to get her less-than-stellar ideas out of the way so I can concentrate. I’ll bring up the ending once we get there.

Dolly: There! That wasn’t so hard. Now we have a goal to move towards. What kind of scene should we write next? Oh! Maybe he jumps into the body of a serial killer! Or another timeline where everything’s the same but a meteor hits so he must survive underground for a while.

Marlene: Ya know what? We can write our own ideas for scenes and compare them later! We can work faster that way.

Dolly: Sure! I know I have some good ideas cooking up.

Marlene Collins 2025/08/06(Wed)00:46 No. 1112320 ID: 8179f5
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While Dolly does her thing, I seclude myself and wonder which scene I should work out. I could write up a new anchor for him to solve. I have several ideas at the top of my head.

>a. I could have him try balancing his multiple relationships
>b. He could be saving a friend, learning from his other selves
>c. His intrusive thoughts win him over; he can do anything he wants
>d. It makes sense for him to seek for an answer
>e. >___

e) Some of the alternate timelines get weird and incomprehensible.

c. Challenge and disprove the notion that nothing matters just because there are infinite possibilities.

C is the only correct answer.

>>1112320

B.

Each one's tempting for its own reason, but this is the only one that will bring us to a meaningful resolution.

Maybe that's been the point: finally getting it right.

B. I think he’d feel guilty ruining his other selves lives doing C

B, but enough of C that he feels and acts liberated to take risks to help others, whether the thoughts suggest specific things or not, and it is taking risks to help others like his friend, as well as learning from others, as well as overcoming his fears, that helps.

Seems like you and Dolly are going to be butting heads quite a bit on this project.

Let's go with B. for now. Seems like the most natural approach. Might also be simple enough approach that you get some wiggle room to "negotiate" with any curve ball ideas Dolly tosses at you.

> Everything he experienced is summed up in a coma or near-death experience
> Maybe he jumps into the body of a serial killer! Or another timeline where everything’s the same but a meteor hits so he must survive underground for a while.

Oh, no. No, Dolly... she can't write serenity. You gotta help her understand that audiences will eat that shit up even if it isn't satisfying, even if it's confusing and ambiguous. They'd be outraged over an inconclusive ending, but so what? Done right, it'll just add to your notoriety and get people thinking. And moviegoers LOVE thinking.

It's the difference between a subpar B movie and a cult classic. This isn't going to be a cinematic AAA blockbuster, so going for the latter would be... good for business in the long run. Unless you've got one of those insurance schemes like they got in Germany, where you get to cash out when your movie "accidentally" flops?

Point being, do not have him wake up from a coma. Fade to black and middle finger to the audience is a better ending. (Waking up from a coma could happen in the terrible sequel no one likes though.)

E) Honestly, it feels like going through the stages of grief is a pretty good folow up to the situation: first Jason tries to look for a clue or hint as to what's going on, but with the turmoil of the situation itself and his poor ability to discern things beyond face value, he doesn't get anywhere, so he tries to simply manage the situation and his disparate relationships as best he can.
The brunt of the second act is shaped by how he tries to keep up with that unmanageable situation until the building pressure finally makes him lash out by treating his ordeal like consequence free rollercoaster, which creates the conflict that brings everything to a head in the poverbial third act of the film.

Jason Emerson 2025/08/13(Wed)01:03 No. 1112614 ID: 8179f5
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>[Dolly] can’t write serenity [...] going for [a subpar movie and cult classic] would be good for business in the long run
I can’t make him just wake up like it’s all a dream. I hope I find a much better conclusion than that. I wonder how involved the producers and Nico will be--if they’ll agree with Dolly for the popcorn-munching writing.

Alright, it’s time to put my brain to the test here. Let’s give him a goal to work towards. Something that utilizes his gift.

aHEM

--The anchors become more frequent. Sometimes they come in blips; I barely dip in the kaleidoscope and several lives compress in my head.

Like a migraine, I must wait it out until the world stands still.

Where am I?

I’m supposed to be restocking my fridge but my eye caught the newspaper: the obituaries. I felt a need to be here. I knew this person. They were nothing to the current Jason I possess until that moment.

Too many names in my head now. Others have died prematurely in my life. Who was it this time?

Oh right. Her.

Jason Emerson 2025/08/13(Wed)01:04 No. 1112615 ID: 8179f5
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Maeve.

Poor Maeve.

She didn’t deserve this.

Weeds are growing in the corner of the cemetery. The chilling breeze scoots rotten leaves here. Where is everybody? Her family? Who was she to the world?

I remember now; it was years ago when I was depressed. I attended an underground concert; it was just local emo bands spewing garbage noise. She was there and accidentally head-banged me. My nose was gushing blood and she dabbed a towel out back. She said I have beautiful eyes. I complimented her hair--I didn’t know what else to say. We ditched the venue and I smoked some pot with her.

But instead I had left the club early. It felt pointless to be there and I rented a movie nearby. We never ran into one another.

Could I have prevented this? Is it my fault she’s dead?

Jason Emerson 2025/08/13(Wed)01:04 No. 1112616 ID: 8179f5
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Is this a memory or happening simultaneously? I’m pumped full of hurt right now and I want to go away. Far away. Leave this hurt behind.

But there’s no place to go. Am I stuck here with her?

Do I really want to leave her like this? I wanted to save myself from this life.

This isn’t living.

Maeve: Nyuuuuuugh...

Maeve: Jason.

Maeve: Why are you so good to me?

"Because I know you. Like really know you."

>>1112626
This

"i don't think i'm being good. i think i'm just decent and you're used to it."

"What do you mean? I don't feel like I'm doing anything special."

Time doesn't last long enough to spend it otherwise.

Jason Emerson 2025/08/22(Fri)04:02 No. 1113076 ID: a6401c
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I’m trying to put words together; the drug vibrates under my skin.

Jase: Because I know you.

Maeve: Hmmhmm

Jase: I mean...

I need to get you out of here.

Jase: Really. Know you.

Jase: I dunno. Maybe I always know to do the decent thing.

Jase: But I wish I could fix everything. I wish it was enough to ease your pain.

Maeve: Awe, Jase.

Maeve: You’re a good drug to me. Heh heh.

We’re chilling in an abandoned warehouse. Maeve has found a little nook for herself whenever she becomes homeless. And it happens quite often. In some ways I’ve moved in with her. Saves some rent money for me during the hotter seasons and we’re just living day-to-day.

Jason Emerson 2025/08/22(Fri)04:03 No. 1113077 ID: a6401c
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The thing I know about Maeve, and possibly applying to everyone else, is that her past is constant up to my first anchor with Len.

Maeve would’ve always been born without her father.

Maeve’s mother would’ve always been eager to find love and remarry fast--and stuck with the worst husband in fear of being alone again.

Maeve would’ve always been abused by her stepdad throughout her entire childhood, and found comfort in drugs and alcohol.

She’s needy; she doesn’t like being alone. There are times where I wanted to leave her and yet I’m convinced to stay. Every job we pick up doesn’t last. She usually helps out a friend at the mall or sells pot and painkillers in the back. Sometimes harder stuff. She’s pretty resourceful when it gets tough.

Surprised she lasted this long.

Jason Emerson 2025/08/22(Fri)04:05 No. 1113078 ID: a6401c
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I feel her spine shudder. Her pale skin is cool, chilled from the breeze through the cracks of the building.

Maeve: Brrr. Can’t believe it’s autumn already. I forget how cold it gets in here.

Maeve: I’ll have you to warm me up though~

She straddles me with her naked body hovering over mine. I know she sometimes likes the tingling feeling when naked in a cold stone room. She feels me up tenderly.

Maeve: It’s still six in the afternoon.

Maeve: Nuthin’ for us to do. We’ll hang with Garvey later. I hear he’s got a new stash for us to sell.

Maeve: Let’s pass the time. We’re gonna die soon anyway--let’s get fucked or fucked up <3

>a. Have sex
>b. Take drugs
>c. Settle a minute and talk about her. (What about?)
>d. Try to give advice? (What?)
>e. >___

A) get the blood pumping before you give the speech that turns your lives around. Surely you'll think of something by the time you're done fucking.

>>1113078

A, for now. A little intimacy can make it easier to talk, sometimes, as much as help convince her to listen.

Because we need to get her -- get both of us -- out of here.

C. Talk about your living situation. The two of you can't make it through the winter like this in here.

E: notice your changing tattoo.

Have drugs, take sex

Write a different segment.

Jason Emerson 2026/08/14(Fri)18:21 No. 1130950 ID: 330254
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>notice your changing tattoo.
Interesting. I remember the parlor visit when I finally had the guts to get a tattoo. I must’ve been drunk--but I recall liking a lot of the designs on the wall; it wasn’t easy deciding which to pick. It’s strange, these micro-shifts. I could’ve chosen any of them; a slight change without any major repercussions.

>Surely you’ll think of something by the time you’re done
>A little intimacy can make it easier to talk, sometimes, as much as help convince her to listen.
I feel I could put off the talk until later--being under the influence makes my brain easily guided by lust.

For a moment I’m in a blurry sea. I feel so many Maeves close to me; every experience feels meshed into one as my hands feel every inch of her body at once.

Fuck.

I feel everything.

Every her. And every me.

This is a real fucking good drug…

Jason Emerson 2026/08/14(Fri)18:22 No. 1130951 ID: 330254
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We lie around for several more minutes.

Observe... okay... okay I’m still here. Still here.

Orient... Get back to reality.

>Talk about your living situation
Jase: Maeve—

I take a deep breath.

Jase: We need to find a better place than this.

Maeve: We will, hon. I know a friend who can make a little space in the attic for a month. She’ll be cool about it.

Jase: No--I mean, this. Living like this.

Maeve: Ugh. I’m not in the mood for this again. I’m doing what I can, Jase! Okay? It’s fine.

Jase: It’s not. And you know it’s not.

Maeve: Well, I don’t need constant fucking reminders of how shitty my life is. Must be nice to have the option to get up and go!

Jase: It’s not like that. I want to help you. I want to help you before you get hurt. Before it’s too late.

Maeve: What do you mean ‘too late’?

She finds any reply ridiculous. How can someone believe what I experienced?

Maeve: Stop brooding like that. Don’t worry, baby. I’m always careful.

She smiles and hops off the mattress. She grabs her clothes while I stare at the ceiling. I’ve seen all of her futures--

Marlene Collins 2026/08/14(Fri)18:33 No. 1130953 ID: 330254
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Hmm.

Before I get engrossed in every nook and cranny detail of the story, I should take a breath, step back, and see this chapter as a simple arc. I need blocks of events to place in order.

Okay, so this chapter is about saving a friend. But Jason also must learn how to accept his power and use his ‘time-shifting’ ability or dimension-hopping or whatever to help the people he’s closest to. The biggest question is... how will Jason get his answer? How will he grow as a person? Screenwriting 101 we have:

1. Maeve Greer is destined to die if she continues her ways.
→ 2. ???
→ 3. ???
→ 4. ???
→ 5. Jason sees Maeve in a timeline where she’s sober. He’s content that somewhere in the multi-verse there’s at least one Maeve who’s happy and safe.

In addition, I wrote a bunch of random-ass story beats. I should choose which could be most important or to expand upon.
[ ] Jason and Maeve hang with Garvey [>>1081207]
[ ] Maeve ends up with Garvey
[ ] Jason leaves her completely, or threatens to
[ ] Lock her in a room, force to quit drugs cold turkey
[ ] Meet her parents/family
[ ] Fight her step-dad
[ ] Force her to rehab
[ ] Jason attends her funeral
[ ] Jason commits a crime spree with her
[ ] Run away with her
[ ] Marry her
[ ] Maeve brings up her past, perhaps something that leads her belief
[ ] Maeve finds God
[ ] Visit Maeve as a stranger in another timeline
[ ] How did she end up in a bad situation in the first place?

[ ] open for other random ideas
[ ] ask for advice from a coworker
→ Bo Panning
→ Roy Gibb
→ Dolly Cameron

I'd lean towards
>Jason leaves her completely, or threatens to
The break up is a bit cliche, but it's potentially a shift in the story that the characters initiate rather than just experience

something from her past, something that made her happy. Surely she needs something to work towards, and not something as nebulous as "being happy" or "a better life"
something she can be passionate about

2. The classic breakup ultimatium. It's either me or the drugs Maeve!

3. Split timeline action kicks in, but what happens helps start anchoring things nicely. Breakup Jason busts up the local drug dealers to slowly eliminate her access to them while sober couple jason kicks their ass to keep them away from Maeve while she tries to sober up.

4. It gets rough though, she relapses! Jason works to get her into a rehab center.

5. Chapter ending with meeting her coming out of rehab.

Then, perhaps sit and have lunch with Roy or send a flirty text over to Seb and see how his days been going so far.

A classic "they argue, get drunk and high while arguing that they need to stop getting drunk and high, he rants about seeing infinite timelines, she thinks he's finally lost it, but then the little pieces of irrefutable evidence of his crack theory add up over weeks and she loses it thinking that either Jason is completely insane or the world itself is".

Can't go wrong with a classic crime spree!

Polycule route.

What if...

-Jason spends some time learning above Maeve, then realizes meeting her folks is essential to learning why she is like she is.

-Maeve's dad/stepdad (or Mad, for short) is super rude, says it's all Maeve's own fault. Jason fights him. Mad breaks a bottle on jason's head. Jason is starting to strangle Mad but the hit in the head knocks something lose and he sees that him bruteforcing change is what ends up ruining his and Maeve's lives longterm. He stops the fight and runs

-Later Maeve confronts him about bearing up his step/dad. Jason heartfeltedly apologizes, saying his attempts to help Maeve just keep twisting the knife.
He decides it's best if he stays away for a while and try fix his own life before continuing to mess with hers. This descision will affect the story deeply near the end of the movie.

I dunno, whatcha all think?

Marlene Collins 2026/08/24(Mon)03:52 No. 1131268 ID: 330254
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>Something from her past, something that made her happy. Surely she needs something to work towards.
Perhaps Jason could bring out her potential; she could rediscover a favorite hobby. I’ll have to ponder on what. Actually it could work in the background, almost hidden in sight. While Jason is figuring out ways to help it could be realized towards the end.

>The break up is a bit cliché
>The classic breakup ultimatum.
It’s the ol’ classic episodic structure to find the answer--like in most television shows. I think back on Star Trek where the crew is faced with an unknown problem; the first two simplest and obvious attempts typically fail--but after further insight, trial, and error the third and final attempt usually wins in the end.

Jason could threaten to break up with her first. And I feel Maeve would dig further into destroying her life--so I jot that down for Act 2 of this arc. She may try to change, even make a good effort--but there are relapses. Jason will realize it is not that simple.

I fill out the second act:
1. Maeve Greer is destined to die if she continues her ways.
→ 2. Therefore Jason breaks up with her in an attempt to set her straight, but it would further her addiction without him.
→ 3. Therefore ???, but ???
→ 4. Therefore ???
→ 5. Jason sees Maeve in a timeline where she’s clean. He’s content that somewhere in the multi-verse there’s a Maeve who’s happy and safe.

Marlene Collins 2026/08/24(Mon)03:53 No. 1131269 ID: 330254
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“And so Jason starts busting up local drug dealers! Kicking doors open and cutting the supply of crank to the town!”

Marlene Collins 2026/08/24(Mon)03:54 No. 1131270 ID: 330254
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Marlene: What?!

Dolly: Oh! Don’t mind if I add a few more ideas! What you have so far seems to lack a little...

Dolly: Engagement! That’s all!

Dolly: You can expand on that once you have the time!

Marlene: Ugh, sure I guess.

Dolly: Hey, it’s the story where literally anything can happen, right?

Dolly: I was thinking of adjusting the beginning a little, too! Now hear me out--

Marlene Collins 2026/08/24(Mon)03:56 No. 1131271 ID: 330254
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Dolly: Back at the vacation spot Jason’s father was a ridiculed inventor who gave up his passion and one of his last experiments can be, like, a science-fictiony glove left in the attic.

Dolly: Jason obviously turns it on and that can better explain all the reality-hopping he’s been going through.

Dolly: We should explore that route for a bit. I’ll swap some more notes later! I need to visit a vending machine.

Why. Why. Why. Why.

Leeeet’s continue.

>meeting [Maeve's] folks is essential to learning why she is like she is
Could work as the next act in Jason’s quest to find the root of the problem. I'll put a pin in that for now.

Rounding back, let’s think about the good things about Maeve that she must discover. What kind of hobbies would she be good at? Or what memories does she hold dear?

Maeve's mother isn't malicious, but she is blind. She is legally blind and they still hasn't realized that the con artist who impregnated and maimed her wasn't the love of her life. Maeve gave up on teaching her mother that she was a slave in all but name, one incredibly skilled at empowering bad people, and that's what has motivated her nihilism.

The engine of capitalism uses the goodness inherent in the average citizen to empower the worst impulses of the common sociopath. No wonder she's self-destructing.

>>1131271

Jason "hops" when he dies. Jason also hops in situations of great need or intense emotion.

What if we let that play against him?

Right now, Maeve is an anchor. She's what's keeping him in this timeline, despite little, irrelevant changes like the tattoo. Realizing she was dead is what brought him here, just like the fear that it's his fault she died one way or another.

What Jason needs to do is understand what it was that killed her, and try to work toward preventing that. You're right that the drugs are the obvious one, but I don't think they did it alone.

Perhaps in the process of trying to find something Maeve can care about (perhaps even here in the warehouse, amongst a little, hidden cache of things), Jason stumbles upon what's really going to lead to her death, and do what he can to prevent that (possibly relying on other Jasons' memories).