I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

(The more fancy version)

I AM A FUCKING ARCHITECT

Also Big Seans verse is so overhated

I AM A FUCKING ARCHITECT

Peak

I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

we put the pop corn out opps that my cop

I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

CLARK

THEY ARE BELIEVING IN US, XXXTentacion DIDNT

ANOTHER TWO

WE THE BEST GAME

I AM A FUCKING ARCHITECT

i made this remix myself btw

I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

also i hate lil dicks verse

I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

I AM A FUCKING ARCHITECT

[The footage begins with Warne looking around and panting while carrying an equipment bag. After wandering for a moment, he stumbles across a navigation rope to backtrack with.]

Naren Warne: [in relief, muttering] Yes... yes, yes.

Naren Warne: [muttering] Yes, come on... come on, yes... [in relief] Yes, yes...

[Warne begins following the rope that leads back to a remote outpost. He barricades the entrance with a large rolling equipment case, then approaches the radio equipment to call for help from ASYNC in Standard.]

Naren Warne: [muttering] Okay, here we go, okay. [fiddling with the radio] Ah, Fuck, Work, work, work.

[a beep signal from the radio]

Naren Warne: Standard? Standard, can you—can you hear me? This is Naren, and I've um... I've been separated, uh, from the others and I think I'm okay but I'm not sure where I am.

Naren Warne: I've never been out this far before so I don't, um, [exhales] There was this uh, I didn't get a good look at it, but there was um... something else in here... I need you guys, okay? I need you guys to get me, please.

Naren Warne: [receiving no voice, in desperation] Fuck, I need you guys to come out and get—and get me. Can you— Can you come please, standard? Standard?

[A sudden noise comes from the hallway behind him, causing Warne to glance back, startled.]

Naren Warne: Oh fuck!

[After a long pause, a seagull unexpectedly flies out of the corridor, shrieking, and drops onto the floor.]

Naren Warne: Oh fuck! fuck! [pauses, muttering]

[Warne slowly approaches the collapsed seagull.]

Naren Warne: [muttering] Oh shit... what the fuck...

[The seagull suddenly takes flight and flies away, startling Warne again.]

[Warne turns his attention down the nearby hallway. Out of curiosity, he steps inside. Looking around, he sees wooden ship wheels clipped directly into the walls of the right hallway, and a lit lamp casting an orange glow in the dim area next to an entrance to a room steeped in a greener tint of light. At the very start of the hallway ahead, a large white door stands on the right wall, opening into the room on the right.]

[He walks further down the corridor ahead. He passes a vintage wooden desk. Slightly further down against the right wall, a store sale sign for Cap'n Clark's Ottoman Empire is glitched, clipping into the ceiling; its text is flipped vertically, reading "NO CREDITS". A light purple-blue ottoman is near the right wall alongside more malformed furniture clipped into the walls, with another copied store sign visible further down the hallway.]

[Warne suddenly begins to hear the faint, distant sounds of wind chimes and bird noises. He looks up at the ceiling, noticing several tiles having dark spots.]

[Suddenly, Warne turns his attention behind as the large white door far behind him swings open with a heavy creaking sound. He freezes momentarily. There, a huge unknown entity, shrouded in darkness, sticks its head out of the doorway, stepping into the corridor to pursue him.]

Naren Warne: Oh my God...!

[Warne bolts down the hallway, breathing rapidly. Reaching an intersection, he glances left, right, and then quickly behind him, briefly seeing the entity closing the distance.]

Naren Warne: Oh fuck! Oh fuck! Fuck! Fuck...

[He heads to left, then right, running into a room wrapped in tropical wallpaper, spotting a single door near the corner.]

Naren Warne: [in a panic] Shit...

Naren Warne: [enters the room, breathing heavily] Fuck... Fuck... Fuck...!

[Warne throws himself at the door, repeatedly twisting the knob frantically while yelling. It won't budge; the door is locked.]

Naren Warne: [muffled voice, unintelligible]

[Cornered in the dead end, he turns back toward the entrance to escape, only to run into the entity.]

[The entity seizes him, causing Warne to drop the camera. He screams in agony before a brief audio glitch, then it captures his screams back again before the footage ends abruptly.]

[The footage cuts to a solid blue screen, and the scene zooms out to reveal a TV monitor. The television cuts off to an empty screen, its reflection revealing a group of ASYNC scientists who had been watching Warne's found footage.]

Act 1: Clark's Therapy Session with Mary

[♪ Handprint]

[After the main title sequence, the film opens with a top view of a freshly poured concrete. There lies a kid, putting her hand onto the concrete, leaving a hand imprint. The next shot reveals that the kid is young Mary Kline with her mother.]

[♪ People In San Jose]

[The scene then transitions into the present day, where a certain house is getting demolished. The next shot reveals present day Mary Kline, who is watching the demolition of her childhood home.]

Mary: [through monologue, composed] We all have our loops, our habits...behaviors that keep us walking in circles...reaching for the same solution over and over again....

[After the film implying that the imprint is destroyed, the film cuts to Cap'n Clark's Ottoman Empire, a car arrives to the scene.]

Mary: ...thinking each time, they'll take you somewhere new. But they don't.

[A person exits out of the car, reveals that the person in question is Clark.]

Mary: ...And still, it's the neural pathway of least resistance.

[He arrives to the store, briefly glance over a graffiti that says "RIP OFF", and enters the store.]

Mary: ...A path you made, it's the one that kept you safe when you were a child.

[The film shows the inside of the store, alongside his office room where he is working.]

Mary: ...You learned to push people away, before they could hurt you.

Mary: ...And now, as an adult, you still stuck right where you started...

[The film then cuts to Mary's psychiatrist room, revealing that the monologue is from the therapy session with Clark, the music fades out]

Mary: ...Alone.

Clark: [a moment of silence before responding] ...I mean, I'm not lonely. I have... employees, customers—

Mary: I didn't say "lonely", I said "alone".

Clark: [quietly realize the error, sighs] ...I hurt people... I don't want to—it's just the way I'm wired... So, maybe I deserve to be alone...

Mary: Do you think anyone deserve to be alone?

Clark: ...I don't know, but... you know... maybe it is not such a bad thing.

Mary: Being alone feels deeply ingrained. I understand. You had dreams and a lot of resistance, not a lot of support in realizing those dreams... and when we've experienced hurt again and again, we start to expect it. It's like "Oh, I know this path. I know where it goes." ...So, are you interested in forging a new path, and see where that leads?

Clark: Sure, why not, you know? That's why I'm here.

Mary: Great. So, I want you to revisit an exercise we've done before. The role—play.

Clark: Oh... the acting thing?

Mary: Yeah.

Clark: I feel stupid doing that.

Mary: I know, but we have a few minutes. Let's um... yeah. Let's try a little bit.

Clark: [exhales] ...Alright.

Mary: Let's set the scene. Let's go back to the night that Barbara left you.

Clark: ...What you mean like she kicked me out of my own house?

Mary: Yeah.

Clark: I'm playing myself.

Mary: And I'll be Barbara.

Clark: It is my house, by the way. I'm the one paying for it.

Mary: I know.

Clark: [exhales] Alright. Okay, so um... [clears throat] I'd gotten home late. I don't know how late. Uh... she was already asleep. Maybe midnight. She usually goes to bed bef— [exhales] It doesn't matter. The point is, I was in a kitchen, and um... the glass. I broke the glass and she comes running down to see what happened and... things escalated.

Mary: And how do you feel?

Clark: Well, I was... I was drunk. And um, I—I felt st

I AM A FUCKING ARCHITECT